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Indian cinema

By Moesha Jain

Cinema has been one of the primary factors of what constitutes Indian culture for time immemorial. It’s one of the most beautiful forms of artistic expression and has remained consistent defining how to lead the ideal life, no short of the Indian dream. Whether it is the Karan Johar cinematic universe with designer clothing or the Sanjay Leela Bhansali architecture, separating fictitious beauty and fantasy from reality is often an alienated concept to the dreamy glints of the audience’s eyes but the magic starts to fade when we realize that cinema has been a breeding ground for plagues such as sexual objectification and harassment, here’s how-

Name some of the most popular Bollywood films- your guesses could’ve been ‘Dilwale dulhaniya le jaayenge’, ‘Maine Pyaar Kiya or ‘Devdas’, on thinking and analyzing you realize they follow a pattern- the woman in all these films have little to no authority or agency, they’re depicted as do-good-angels which isn’t necessarily wrong till it becomes a trope that the extensive audience of India consumes unapologetically. 

The music industry too has a humungous unaddressed problem that is item-songs, the very term indicates it aims to talk about an object rather than a person. The issue is not even closely related to sexual expression rather it is catering to a specific gender for the film to better and completely demoralizing the other gender in the process. 

These issues come under the umbrella topics of what is called the male gaze

What is the male gaze?

Film theorist, Laura Mulvey, was the first to coin the term “male gaze” in her acclaimed essay- “Visual pleasure and narrative cinema”. The male gaze is a way of filmmaking that involves empowering the heterosexual man negatively by capturing women as mere sexual objects rather than complete people with their own personality traits.  The male gaze in Hindi cinema does not restrict itself to item numbers, it’s also designing female characters that revolve around pleasing the man more often than having her own aspirations or even feelings in most cases. The classic damsel in distress being rescued by the hero is a defining trope born out of the male gaze and the need to make the male audience feel more in control of everything around them. 

The conditioning is a two-way lane- as much as these films make the male audience more condescending, it also brainwashes women into being more submissive and less independent as their entire lives they’ve been led to believe that they need male validation in order to be sure of themselves and that without it they aren’t making enough impact. 

The Female film revolution

The aspect of the male gaze has been pondered about by a variety of film theorists who do not limit themselves to a specific part of the globe. This process of thought-provoking articles and much-needed debates led to the discovery of the female gaze. The female gaze does not necessarily rob a woman of sexual expression rather it gives more justification to her actions, more thought to her decisions, and requires the writers to put in equal work for writing women characters. 

 More South-Asian directors such as Mira Nair, Alankrita Srivastava, and Iram Haq have created films nothing short of revolutions in themselves. Such is Alankrita Srivastava’s much-acclaimed film ‘Lipstick under my burkha’ that has opened the Indian film industry to a new spectrum with horizons beyond believing and is a must-watch for any person who believes they can be entertained whilst still being provoked to think. 

Ultimately good art only requires one constituent which is provoking thought and as long as we as an audience don’t educate ourselves about the media we consume and unlearn what years of patriarchy have led us to believe entertainment is, it’s safe to say we are unlikely to grow. 

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By Intekhab Hassan

It is always said that Indian cinema is a male dominated industry where movies are made keeping in mind the role of male actors. They are considered as revenue grossers. To be brute honest I agree with this prevailing perception because ultimately cinema is made for the viewers and these viewers themselves come from the patriarchic society. These viewers are in general influenced by the politics, economic structure, the culture and the wide perception about the women in the society. But aforesaid facts or perception cannot undermine the contribution of women’s participation in the evolution of Indian cinema. 

 At a time when women working in the cinema was considered no less than a sin or taboo, actresses like Devika Rani, Shobhna Samarth, Zubaida in early 1930’s entered into movie business and changed its face forever. It was the legendary Devika Rani, co-founder of famous Bombay Talkies and a powerful actress herself who gave India’s own Marlon Brando to Bollywood in the form of Dilip Kumar. It may be unbelievable for some to know that she gave Hindi cinema’s first kissing scene way back in 1931. Zubaida the daughter of an affluent nawab family gave Hindi cinema its first talkative film “Alam Ara”. These actresses paved the way for young generation females to enter into the world of  Cinema to showcase their powerhouse talent.

As a result  new generation actresses like Meena Kumari, Suraiya, Madhubala, Waheeda Rahman, Nargis got an opportunity to redefine the Indian cinema by marking the importance of women in the movies. Time and again these actresses have seldom let down the audience, the society  and the cinema industry whenever movies are made keeping in mind the women centric roles. After viewing many movies here is my pick of  top 10 Hindi Movies where the leading actresses have set a benchmark for the otherwise male dominated film industry by their powerful performances and made these movies as forever Classics.

1) Mother India (1957) : This movie is no 1 in my list. Mother India is a path breaking classic  film of Indian cinema coming from very early years of Bollywood. Nargis Dutt as Radha did an iconic performance that would be remembered by generations after generations. It’s a story of Radha’s sacrifice for integrity, her fight against all odds in the society, her firm believe in truth, justice and equity. Mother India was nominated for the Academy Award for best International film in 1958 thus becoming first Indian film to be nominated for Oscars.

2) Sahib Bibi Aur Ghulam (1962) :  Undoubtedly one of the best classic movie of Indian cinema. Expertly-crafted, aesthetically breath-taking and profoundly disturbing. It was way ahead of its time. The movie  exposed the ugly reality, hypocrisy and degeneration prevalent in the patriarchic Zamindar Families of pre-independence Bengal. Mina kumari  as an alcoholic ‘Choti Bahu’ has literally immortalized her role, which till today remains one of the best performances in the Indian Cinema. All that the lonely, sad choti bahu wants is to be loved and cherished which was against the set norms of patriarchal feudal society. 

3)  Bandini (1963) : Another classic movie by the legendary Bimal Roy. Like most of the Bimal Roy movies, Bandini is a women-centric, feminist one,  based on a Bengali novel. Nutan as Kalyani is a jilted lover who murders her lover’s wife and is subsequently wracked with guilt, remorse and anger. With a broken heart, she gets ready to face any punishment to achieve atonement. Nutan dominates the film with her elegant, demure powerful performance. Bandini is the story of travesty of many shades of a suffering woman that can have resonance with most of the women in our Society.

4) Pakeezah ( 1972) : I call this movie a magnum-opus, a movie whose making started in mid 1950’s and was finally released in 1972. The legendary tragedy queen Meena Kumari has made this film an ever classic. There are some movies whose name instantly brings to mind just one  actor of that movie who becomes synonym with it, and Meena Kumari in  Pakeezah is among those league of extraordinary actors. The tragic story of a courtesen Mehjbeen has been immortalized by the Meena Kumari. Ironically just one month after the release of Pakeezah Meena Kumari died a tragic death.

5) Sujata (1959): Sujata is another classic master-piece by Bimal Roy along with Nutan. Nutan as Sujata is an un-touchable orphan brought up by an educated middle  class Brahmin Family. While growing up Sujata falls in love with Aseer, a brahmin boy. Sujata depicts the prevailing rigid caste system in the society, B.R Ambedkar’s fight against untouchability and the social dogmas for an upper caste boy to love a lower caste girl. Nutan with her powerful performance has kept alive the character of Sujata still relevant in the Indian Society.

6) Aandhi (1975) : Loosely inspired from the life of  India’s former prime minister Indira Gandhi, Aandhi is considered as a classic movie. Legendary bengali actress Suchitra Sen essayed the role of Aarti Devi a leading politician of the country. The plot of the movie  is about love story of a hotel manager and the daughter of a prominent politician. They got married  and later on they get separated due to their mutual differences. Years later they meet again when she is an established politician. The film looks at the life of Suchitra Sen as  Aarti Devi a career minded women in the political arena, which is largely dominated by men.

7) Umrao Jaan (1981) : Just like Meena Kumari in Pakeezah, Rekha in Umarao Jaan is synonym to this movie. Rekha as Umarao Jaan personified the role and brought this movie into the list of classic cinema.

8) Arth (1982) : The Story of  a husband, a wife and the ‘other woman’ have been explored earlier too in the Indian cinema but what sets Arth apart is the layered, complex characterisation of the three principal characters, Shabana Azmi as Pooja, Kulbhushan Kharbanda as Inder Malhotra  and  Smita Patil as Kavita.  Both Shabana Azmi and Smita Patil are phenomenal in the movie but there’s one person who owns Arth and makes it the memorable picture it is today. Yes,  it is  Pooja as Shabana Azmi, who delivers one of the finest performances of the Indian cinema.

9) Mirch Masala ( 1987) :  It tells the story of a beautiful confident woman – Sonbai played by Smita Patil who is sought after by a subedar, the tax collector. She continuously resists his advances and ends up hiding in a spice factory as the subedar doesn’t intend to take her rejection of him. Thematically, the film deals with resistance to colonial oppression, with the subedar serving as the symbol of British colonialism and Sonbai representing the ordinary Indian woman who has the courage to stand against the oppression. She is an inspiration for every women to fight against injustice and to save their modesty.  On the centenary of Indian cinema in April 2013, Forbes included Smita Patil’s performance in the film on its list, “25 Greatest Acting Performances of Indian Cinema”.

10) Chandini Bar (2001) : The Story of Mumtaz, a bar dancer  played by Tabbu depicts the lives of several women who either  due to the poverty or other compulsions join this underbelly profession. The performance of Tabbu in the movie gives a reality check about the sufferings and apathy of women in the society. The  acting of Tabu has set a benchmark for next generation of actresses.

It was very difficult for me to pick up top 10 out of several good movies. The list doesn’t end here. But these are my favourite movies where actresses have outshined all male actors with their sheer performance.  With their excellent crafty acting these movies are among the league of Classical Cinema.

  • Writer is a lawyer by profession and an avid movie watcher by passion. 
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