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The Changing Face of Women In Indian Cinema
In its remarkable journey of nearly a century, the Indian film industry, which includes the first ‘star-hit’ “Bollywood”, and countless regional films, has witnessed a sea change in the production of the woman. protagonist. Yes, hardly anyone would deny that Bollywood cinema has been largely male-centric, leaving little room for female counterparts to develop and grow as versatile actors. The roles they play are mostly of the “sati savitri” pattern, lacking the diversity and depth of the ‘female psyche’. However, filmmakers like Bimal Roy, Guru Dutt, Mehboob Khan and Raj Kapoor in the 50’s and 60’s, showed distinction with the attractive presentation of outstanding women as wife, mother and lover. Some of their films show the brilliant art of ‘bloody’ women, with all their inner depth and charming individuality. Take for example, “Mother India”, “Pyaasa”, “Kaagaz ka phool” and “Madhumati”. A close look at all four of these films will show you how they celebrate the sheer grace and strength of women in the face of personal adversity. These filmmakers give a constant effort to show the dynamic world of the emotions of women professionals with their high artistry and depth of human understanding.
Again, the 70’s, 80’s and 90’s witnessed a severe deterioration in the image of the ‘heroine’ in mainstream Indian cinema. It was then that the ‘female’ performer was reduced to ‘heroine’, referring to the image of ordinary glamor dolls, dancing around trees with heroes and doing cabaret numbers. In this way, it is projected as a show-piece or in other words, as a “nice touch” to the film, rather than being flesh-and-blood in its own right. However, even amidst such general corruption, a few films of Hrishikesh Mukherjee and Basu Chatterjee stand out as notable exceptions with their presentation of the importance of the female spirit. However, these films have a common success rate of melodies, melodies and other “feel good” factors for which Hindi films are known today. However, the handling of the female protagonist is quite sensitive, compared to many other formulaic films released at the same time. Take for example, “Abhimaan”, where we see the very soulful Jaya Bhaduri giving up her music career for the wishes of her jealous husband and later coming to terms with her personal pain through the magic device of music. Again, in “Mili”, we see another bubbly, the soul of Jaya, suddenly hit with leukemia and trying to live life with the same sports enthusiasm with her lover. “Chhoti si baat” and “Rajnigandha”, on the other hand, show the lives of working women of the 70s and the problems they experience with the men in their lives, although in different situations.
Leaving the first films of Bollywood, the films of Satyajit Ray, Mrinal Sen and Hritwik Ghatak in Bengal should be specially mentioned in regard to the psychological exploration of the female protagonist. Ray, in “Charulata” in the 60s, introduced us to the great “Charu” with all his cunning and quest for creative life. In her relationship with “Amal”, which begins with Charu exploring her literary and creative pursuits, the much-needed intellectual companionship and attention forms the basis of an “extra-ordinary” relationship that transforms her. forever. Again, Ray in “Ghare Bairey” and “Mahanagar”, describes a woman who always fights with uncertainty and real-life, and explores the appearance of modern women in the upper class of colonial India. One cannot help drawing parallels with Ibsen’s “A Doll’s House”, because these two films, like this play, mark a woman’s search for her identity, her spiritual awakening, and her gradual self-awareness, in against all established regulations. male-dominated society. On the other hand, Mrinal Sen, in “Ekdin Pratidin”, explores the chaotic life of a working woman and focuses on her inner turmoil that questions the so-called “truth” of the outside world. The film depicts the trauma caused in a middle-class Bengali home when a little girl fails to return home on time. As the family is engulfed in anxiety, many facades crack and unresolved tensions surface, repeating the hypocrisy and pretensions of so-called “respect”. Again, in “Durotto”, Sen speaks of the ‘distance’ between a couple and the pain of their separation. Mamata Shankar here plays a wife devastated by the bitterness of divorce and then glowing with the hope of reconciliation.
Hrithwik Ghatak’s “Meghe Dhaka Tara”, “Komolgandhar” and “Subarnarekha” on the other hand, show the conflicting lives of women struggling for life in post-partition Bengal. The partition, with its devastating consequences, forced the women of middle and low families to turn as the bread winners of the house. Ghatak’s films, based on real fragments of reality, explore the subtle pains of women under such harsh conditions.
Today, the definition of a female musician is more challenging in terms of her gender identity. The seed of this question was first sown by the powerful Aparna Sen in the 80s with “Paroma”, where the woman entered the so-called “prostitution” only to develop a long-term psychological development. Today, directors like Deepa Mehta, Mira Nair and Meghna Gulzar are perfect enough to portray ‘taboo topics’ such as female sexuality, polygamy and even motherhood, where its a woman who takes the lead role in plotting, making love and even has the intention to “rent” her womb without the permission of her future husband! While in “Fire” and “Kamasutra”, women have the courage to explore their sexual desires, in Mahesh Manjrekar’s “Astitva “, the spirited deaf woman gives birth to a child out of wedlock and shatters the world of male vanity when the truth is finally revealed. The film questions the concerns of female behavior through a detailed examination of sexual and family relationships. Again, very recently, in “Shunyo-e-buke”, a Bengali film by Koushik Ganguly, the protagonist is a flat-chested woman of the 21st century who questions the very basis of judging a woman’s worth “through her cleavage”. In a vain society where has a well-rounded, curvaceous figure as the highest form of female beauty, where your bust line n i value more than your brain and your emotions, this hard-hitting film questions the stereotype of women as sexual objects in Indian society.
So, from Hritwik Ghatak’s “Subarnarekha” to Rituparno Ghosh’s “Bariwali”, from Raj Kapoor’s “Ram Teri Ganga Maili” to Madhur Bhandarkar’s “Chandni Bar”, we see the changing face of Indian women who remain hidden in their private world of Internal chaos and external world of multiple challenges. Women in India, defined by the system of relationships and models of behavior within the structure of the society created, over the years, learned to live under the twin threads of heritage and modernity; and it is welcome that more and more leaders in the following years project the consciousness of the awakened woman, breaking the archetypal patterns with the consciousness of their intelligence. On a lighter note, our Elder generation, previously exposed to the “vampire” Helen, is now face-to-face with the more “killer” Urmila Matondkar. Many are saying that the change is a “flavor” for their “movie” palate!
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