Sumit Nagal, Saketh Myneni bow out in first round of Chennai Open Challenger

Nagal lost 3-6, 3-6 to Frenchman Antoine Escoffier, while Myneni went down 6-7(5), 6-3, 6-4 to Arjun Kadhe.

Antoine Escoffier of France caused the first upset of the Chennai Open ATP Challenger on Monday, sending fifth-seeded Sumit Nagal of India packing with a straight forward 6-3, 6-3 win.

The two other seeded players in action on the opening day of the USD 50,000 event, Duckhee Lee (No.3) and Egypt’s Mohammed Safwat (No.4), advanced with straight forward wins.

While Lee beat N Vijay Sundar Prashanth 6-3, 6-4, Safwat got past Alessandro Bega of Italy 6-4, 6-3.

Escoffier shut out Nagal rather easily. He broke the Indian in the first and ninth games to win the first set 6-3.

The Frenchman served and stroked with ease as Nagal struggled to hold serve.

Though Indian’s first serve percentage was higher than the Frenchman, his delivery lacked penetration thus he was always on the backfoot throughout.

In the second set, it was even-stevens till three games all. Escoffier held serve and broke the Indian in the next game to lead 5-3 and take the upper hand.

He then served out in the next game to show Nagal the exit.

The agile Lee proved too good for Sundar Prashanth, coming up with some fluent strokes.

Three of the qualifiers Arjun Khade, Wishaya Trongcharoenchaikul (Thailand) and Sidharth Rawat got through to the second round but three wild card entrants, Nitin Kumar Sinha, Dhakshineswar Suresh and Vijay Sundar Prashanth bit the dust, bowing out in straight sets.

Pune’s Khade, who has been in good form of late, held off Saketh Myneni’s challenge in three sets in just over two hours.

Myneni returning from an injury break served six aces in the first set to win it on a tie-break.
In the second set, Khade got 79 per cent of his first serves in and played positively to win it 6-3 with the help of one break.

He raised his level of play in the decider, landing 94 per cent of his first serves and secured the all-important break in the 10th game to enter the second round.

Qualifier Trongcharoenchaikul played a solid game from the baseline to overcome a mid-match slump to oust Balaji in two hours and 15 minutes.

In the doubles event, top-seeded Ratawatana twins (Sonchat and Sanchai) of Thailand, proved oo good for the Sood twins Lakshit and Chandril. They romped home conceding only three games.
Sriram Balaji had better luck in the doubles as he and Vishnu Vardhan beat Dmitry Popko of Kazakisthan and Bernabe Zapata Miralles of Spain.

In another match, Saketh Myneni partnering Luca Margaroli defeated Sasikumar Mukund and Adil Kalyanpur in straight sets.

The top-seed in the singles draw, Jordan Thompson of Australia opens his campaign tomorrow as would the No.2 seed Yuki Bhambri of India.

Results - Singles - first round (Indians unless otherwise stated): Duckhee Lee (Korea-X3) bt N Vijay Sundar Prashanth 6-3, 6-4; Mohamed Safwat (Egypt-X4) Bt Alessandro Bega (Italy) 6-4, 6-3; Antoine Escoffier (France) bt Sumit Nagal (X5) 6-3, 6-3; Wishaya Trongcharoenchaikul (Thailand) bt N Sriram Balaji 6-4, 3-6, 7-5; Arjun Kadhe bt Saketh Myneni 6-7(5), 6-3, 6-4; Lucas Catarina bt Nitin Kumar Sinha 6-3, 6-4; Gerard Granollers (Spain) bt Sasi Kumar Mukund 6-3, 6-2; Sidharth Rawat bt Dhakshineswar Suresh 6-2, 6-0.
Doubles (first round): Sanchai Ratiwatana/Sonchat Ratiwatana (Thailand-X1) bt Chandril Sood/Lakshit Sood 6-0, 6-3; N Sriram Balaji/Vishnu Vardhan bt Dmitry Popko (KAZ)/Bernabe Zapata Miralles (ESP) 7-6(8), 6-1; Luca Margaroli (SUI)/Saketh Myneni (X4) bt Adil Kalyanpur/ Saketh Mukund 6-4, 6-3.

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Swara Bhasker: Sharp objects has to be on the radar of every woman who is tired of being “nice”

The actress weighs in on what she loves about the show.

This article has been written by award-winning actor Swara Bhasker.

All women growing up in India, South Asia, or anywhere in the world frankly; will remember in some form or the other that gentle girlhood admonishing, “Nice girls don’t do that.” I kept recalling that gently reasoned reproach as I watched Sharp Objects (you can catch it on Hotstar Premium). Adapted from the author of Gone Girl, Gillian Flynn’s debut novel Sharp Objects has been directed by Jean-Marc Vallée, who has my heart since he gave us Big Little Lies. It stars the multiple-Oscar nominee Amy Adams, who delivers a searing performance as Camille Preaker; and Patricia Clarkson, who is magnetic as the dominating and dark Adora Crellin. As an actress myself, it felt great to watch a show driven by its female performers.

The series is woven around a troubled, alcohol-dependent, self-harming, female journalist Camille (single and in her thirties incidentally) who returns to the small town of her birth and childhood, Wind Gap, Missouri, to report on two similarly gruesome murders of teenage girls. While the series is a murder mystery, it equally delves into the psychology, not just of the principal characters, but also of the town, and thus a culture as a whole.

There is a lot that impresses in Sharp Objects — the manner in which the storytelling gently unwraps a plot that is dark, disturbing and shocking, the stellar and crafty control that Jean-Marc Vallée exercises on his narrative, the cinematography that is fluid and still manages to suggest that something sinister lurks within Wind Gap, the editing which keeps this narrative languid yet sharp and consistently evokes a haunting sensation.

Sharp Objects is also liberating (apart from its positive performance on Bechdel parameters) as content — for female actors and for audiences in giving us female centric and female driven shows that do not bear the burden of providing either role-models or even uplifting messages. 

Instead, it presents a world where women are dangerous and dysfunctional but very real — a world where women are neither pure victims, nor pure aggressors. A world where they occupy the grey areas, complex and contradictory as agents in a power play, in which they control some reigns too.

But to me personally, and perhaps to many young women viewers across the world, what makes Sharp Objects particularly impactful, perhaps almost poignant, is the manner in which it unravels the whole idea, the culture, the entire psychology of that childhood admonishment “Nice girls don’t do that.” Sharp Objects explores the sinister and dark possibilities of what the corollary of that thinking could be.

“Nice girls don’t do that.”

“Who does?”

“Bad girls.”

“So I’m a bad girl.”

“You shouldn’t be a bad girl.”

“Why not?”

“Bad girls get in trouble.”

“What trouble? What happens to bad girls?”

“Bad things.”

“What bad things?”

“Very bad things.”

“How bad?”


“Like what?”


A point the show makes early on is that both the victims of the introductory brutal murders were not your typically nice girly-girls. Camille, the traumatised protagonist carrying a burden from her past was herself not a nice girl. Amma, her deceptive half-sister manipulates the nice girl act to defy her controlling mother. But perhaps the most incisive critique on the whole ‘Be a nice girl’ culture, in fact the whole ‘nice’ culture — nice folks, nice manners, nice homes, nice towns — comes in the form of Adora’s character and the manner in which beneath the whole veneer of nice, a whole town is complicit in damning secrets and not-so-nice acts. At one point early on in the show, Adora tells her firstborn Camille, with whom she has a strained relationship (to put it mildly), “I just want things to be nice with us but maybe I don’t know how..” Interestingly it is this very notion of ‘nice’ that becomes the most oppressive and deceptive experience of young Camille, and later Amma’s growing years.

This ‘Culture of Nice’ is in fact the pervasive ‘Culture of Silence’ that women all over the world, particularly in India, are all too familiar with. 

It takes different forms, but always towards the same goal — to silence the not-so-nice details of what the experiences; sometimes intimate experiences of women might be. This Culture of Silence is propagated from the child’s earliest experience of being parented by society in general. Amongst the values that girls receive in our early years — apart from those of being obedient, dutiful, respectful, homely — we also receive the twin headed Chimera in the form of shame and guilt.

“Have some shame!”

“Oh for shame!”




“Do not bring shame upon…”

Different phrases in different languages, but always with the same implication. Shameful things happen to girls who are not nice and that brings ‘shame’ on the family or everyone associated with the girl. And nice folks do not talk about these things. Nice folks go on as if nothing has happened.

It is this culture of silence that women across the world today, are calling out in many different ways. Whether it is the #MeToo movement or a show like Sharp Objects; or on a lighter and happier note, even a film like Veere Di Wedding punctures this culture of silence, quite simply by refusing to be silenced and saying the not-nice things, or depicting the so called ‘unspeakable’ things that could happen to girls. By talking about the unspeakable, you rob it of the power to shame you; you disallow the ‘Culture of Nice’ to erase your experience. You stand up for yourself and you build your own identity.

And this to me is the most liberating aspect of being an actor, and even just a girl at a time when shows like Sharp Objects and Big Little Lies (another great show on Hotstar Premium), and films like Veere Di Wedding and Anaarkali Of Aarah are being made.

The next time I hear someone say, “Nice girls don’t do that!”, I know what I’m going to say — I don’t give a shit about nice. I’m just a girl! And that’s okay!

Swara is a an award winning actor of the Hindi film industry. Her last few films, including Veere Di Wedding, Anaarkali of Aaraah and Nil Battey Sannata have earned her both critical and commercial success. Swara is an occasional writer of articles and opinion pieces. The occasions are frequent :).

Watch the trailer of Sharp Objects here:


This article was published by the Scroll marketing team with Swara Bhasker on behalf of Hotstar Premium and not by the Scroll editorial team.