Analyzing how gender roles are portrayed in modern Bollywood filmmaking: A Case Study of three recent blockbuster movies: Thappad ‘The Slap’ 2020, Pink 2016, Shubh Mangal Saavdhaan ‘Beware of Marriage’ 2017.
The widespread idealization of Bollywood performers by millions of fans results in a significant influence of the films on the values and beliefs of Indian society. The masculine lead in these popular films is typically portrayed as a “superhero” with an extraordinary personality, while the feminine thespians are confined to supporting parts as “beauties” or as selfless mothers, wives, or daughters. Filmmakers have been experimenting with new themes over the past ten years, addressing topics such as political corruption, identity, ambitions, social norms, ethics, and morals. However, sensitive themes like gender and sexuality have been seldom addressed until recently, which I find to be a nice surprise in light of these new trials.
Nevertheless, these new Bollywood movies show and may themselves promote changing attitudes towards gender and sexuality through the portrayal of lived and bodily experiences of the protagonist. Bollywood films represent gender-based roles and ideas in a variety of ways. One aspect is the portrayal of oppressive gender roles and violence against women. The role of men in constructing gender and the influence of media on shaping attitudes towards masculinity are also examined in the context of Bollywood movies. How women are portrayed has significantly evolved over time. In the past, women were showcased in their traditional, submissive roles, reinforcing patriarchal norms. Recent movies, on the other hand, have shown women in more secure, aggressive, and career-focused characters, reflecting shifting cultural views. The 2016 Bollywood film Pink scrutinizes the topic of consent for sex as well as the sexual vulnerability of teenage girls living in Delhi on their own. This movie gives urban India a very clear message: “No simply means No,” and everyone has the right to refuse sexual activity and intercourse, even if they stand to gain financially from it. Pink helped to debunk negative preconceptions of modern, independent young girls and women in Indian society; in addition to starting discussions about consent. By all means, this movie has disproved negative stereotypes that are often associated with Indian women and their tendency to behave in ways that are outside of social standards.
These prejudices assume that women who drink, wear trendy clothing, and indulge in extramarital sex are loose characters. However, these same conventions also deny women their right to sexual autonomy and the freedom to decline sex. These derogatory stereotypes support the victim-blaming theory, according to which women should have invited harassment, assault, and/or other forms of abuse. The film was successful in igniting a conversation in society about everyone’s right to sexual autonomy and respect, regardless of their own choices and lifestyles.
Pink, the title of the film, seems to refer to women, girls’ clothing, or the feminine color itself, but it actually tells very little about the subject matter of the film and barely gives any indication as to how well it tackles the subject (Parajuli, 2022). The film explores societal perceptions on female sexual assault. The film, which was filmed in India, examines deeply rooted sexist attitudes against women, the practice of victim blaming, leadership corruption, favoritism toward the wealthy, and the problem of undertrained police (Parajuli, 2022). The performance in the movie is excellent, and it received positive reviews in India after its premiere.
In the movie “Pink,” which may have easily been based on a true story, the attacker manages to push himself on the woman, but she fights back and hurts him severely before raping her. The victim is held accountable, calling the crime “Her crime,” on the grounds that she is thought to have placed herself in that predicament by, among other things, living with two female roommates rather than her extended family, attending a party with her roommates, and making friends with men who interpret young women’s desire to mingle as a request for sex (Parajuli, 2022). The three young ladies are then falsely accused of prostitution, which, when seen within the backdrop of Indian customs, is highly immoral and provocative to their hosts. When Minal Arora (Tapsee Pannu), Falak Ali, and Andrea decide to attend a rock performance, Rajveer Singh (Argad Bedi) and his buddies happen to run into them (Parajuli, 2022). The girls accept an invitation to dinner and it is hinted that Rajveer and his buddies intend to harass them. Eventually, Minal defends Rajveer by hitting him with a bottle, nearly taking his eye out (Parajuli, 2022).
Similar to numerous other states, India is undergoing momentous cultural transformations. This is a result of women’s desire for social equality causing some customs to fade. High levels of internal variety within the nation, the caste system, regional and ethnic divides, county vs city tensions, nepotism, etc., all serve to highlight this (Madaan et al., 2017). Naturally, British laws that remained in place after colonialism are not helpful. Additionally, if modern women pursue higher education, hold careers, and reject the outdated notion that they have the right to demand sex whenever they want and use coercion and violence to acquire it, many specific males could lose their status as “kings” (Madaan et al., 2017). The three housemates are helped by a lovely character, though. Retired from the legal profession, he did so out of distaste. The accused is in what he calls a corrupt scenario, and he does not want to take the case, but he cannot help himself and gives in despite internal tensions (Parajuli, 2022). At first, it seems as though the lawyer lacks strategy and is impulsive. However, as he gains confidence and becomes more proficient in his profession, it is largely due to his experience and passion for the truth. Deepak Seghal is the lawyer. With his wife battling a terrible illness, the lawyer’s position is more poignant.
Given his senior age, it is evident that the wealthy men who are being accused of assault have not changed to reflect the prevailing societal attitudes on women’s rights since it is in their best interests to do otherwise. Ironically, though, the elderly attorney has aged into the perspectives of the modern world. Nevertheless, there is still hope because the movie features a few policewomen, even though one of them is corrupted (Parajuli, 2022). The three female roommates also persevered through various setbacks, family concerns, and violent intimidation by their attacker. The judge in the court also fairly considers the testimony.
The continual ridiculous assumptions about the case’s evidence, the cops’ careless but sexist attitudes, and the entitled attitudes of the rich lads are some of the most annoying jabs. But the purpose of the movie is to annoy us. Through the use of art, one can challenge societal norms, justice, fundamental human rights, and what it means to say “NO” in interpersonal. At a time when change is desperately needed, “Pink” consequently leaves viewers with little choice but to advocate for change.
Pink makes it quite clear that when a woman says “no,” she genuinely means “no.” The film also urges people to quit making assumptions about girls based on things like how long their skirts are, what time they go home, whether or not they are single, and how hard they try to live their lives (Parajuli, 2022). The most authentic and leisurely aspect of this film is its resemblance to reality. The movie is quite relatable given the state of society nowadays. You will enjoy the film regardless of your gender, age, marital status, political leanings, or even gender identity. The film’s tools are not just to entertain but also to inform and empower its viewers. There is no doubt that this film has altered people’s views on gender equality and prejudice. This film serves as a focus on real young ladies who lead authentic lives and overcome all the obstacles that any woman may identify with.
The rise in domestic violence linked to the COVID-19 epidemic has been a topic of discussion in recent years. Another movie, “Thappad,” which was produced and directed by Arubhav Singh, tells of the intertwined lives of four women—a lawyer, a businesswoman, a housewife, and a housemaid—to confront the problem of domestic abuse. The movie raises important issues by exposing male chauvinism and challenging the acceptance of physical and psychological abuse in marriage (Lakshmi, 2020). Do women in marriage have to put up with abuse? Is a single slap on the face, a sufficient reason for a woman to file for divorce?
The Slap 2020 is a film about how, despite being a contemporary, educated lady living in metropolitan India, an Indian wife is expected to tolerate subtle acts of abuse from her husband on a daily basis. Verbal abuse, such as belittling her caregiving duties, physical abuse, and sexual abuse/violence, such as forcing them into intercourse against their choice, are examples of this type of violence. At one point, the movie’s heroine refuses to acknowledge slapping as “normal” marital behavior. Everyone, including her mother-in-law, her own mother, and even the female attorney she plans to hire to handle her divorce, advises her to disregard this “minor incident” and resume her regular life. The protagonist is made to feel uneasy and insignificant and is unable to move past the slap.
She ends the relationship because of her husband’s actions after the slap as well as his refusal to own up to his error and provide an apology. Notwithstanding its poor box office performance, the film spurred discussions about domestic abuse, women’s roles in marriage, and the value of the unpaid care work that women perform. Bollywood has definitely advanced in the last several years, with films that defy gender norms and accurately depict themes related to gender and sexuality, including consenting domestic abuse and paid caregiving (Madaan et al. 2017).
The prevalence of domestic abuse across socioeconomic lines and women’s struggles to break free from patriarchal bonds that constrain them are both highlighted by Thappad (Lakshmi, 2020). Amrita, the main character, is a housewife and trained Kathak dancer. Her primary responsibilities are to care for her husband Vikram, support his aspirations for a prominent corporate career, and tend to his sick mother. She is content with her routine up until her spouse smacks her in front of visitors during a house party to honor his career accomplishments (Lakshmi, 2020).
Amrita is shocked, but she shouldn’t have been shocked by Vikram’s actions because his casual sexism is evident most of the time. For example, he wonders why women need to be drivers, what his neighbor, a single mother who runs a business, does to afford a new car, and that Amrita would be better off becoming a better cook before she learns to drive. Throughout her marriage, she largely ignores these insignificant comments—that is, until Vikram strikes her (Lakshmi, 2020). At this point, she starts to reflect on her place in the marriage and the compromises she has made to live up to society expectations of what a good wife should be.
Upon reflection of her married life, she finds that Vikram has been so focused on his work and himself that he has never acknowledged the harm his actions have caused her. Even after the party, he still worries more about what other people will think of him than about the permanent damage he has caused to Amrita. He tries to make up by purchasing her pricey jewelry when she expects him to apologize. He does not realize how his one act of rage could cause his wife to file for divorce, nor does he see how his acts reflect on society that takes violence against women for granted (Lakshmi, 2020). The irony is that Vikram represents a lot of affluent men who are unaware of the situation of women in their households. Amrita’s lawyer, Naina’s employer, is going through difficult times too. Despite being one of the best attorneys in the city, her spouse tells her that he is the reason for her success. Naina triumphs in a landmark lawsuit but finds it difficult to satisfy her husband’s unwanted approaches. Ultimately, she is motivated by Amrita’s story and chooses to launch her own private clinic. The audience reacts strongly emotionally to the movie’s realistic settings. In the movie, a slap serves as a metaphor for the pervasive issues of gendered violence in close relationships (Lakshmi, 2020).
The movie also serves as a reminder that patriarchy is not exclusive to men. Her mother gives her advice to move on from the event and get back to her spouse as she cannot bear the social stigma of having a divorcee daughter at home. Until it’s too late, her mother-in-law doesn’t see anything wrong with her son’s behavior. Although Amu is fortunate to have a father who is encouraging and a brother who is prepared to let go of patriarchy, many women do not live like this, particularly in Indian society, as the movie depicts (Lakshmi, 2020). Most women in the nation have nowhere to turn, in contrast to Amu, who confronts Vikram and gets support and legal assistance.
Male sexuality is portrayed in Shubh Mangal Saavdhaan, “Beware of Marriage,” a 2017 film, as having permeated these contemporary Bollywood productions. In 2017, the film Shubh Mangal Saavdhaan – “Beware of Marriage” tackled the controversial topic of erectile dysfunction. The cast and filmmakers of this light comedy received praise and nominations for awards, and it became a box office hit. The film’s commercial success and widespread appeal gave Indian culture a forum for honest discussion on the limitations and negative effects of binary gender stereotypes. The film has also brought toxic masculinities that demand physical strength and sexual virility from males to light. These new stories have the potential to address non-toxic aspects of masculinity and help young men feel at ease with who they are. Future generations’ ideas of what it truly means to be a man will probably change as a result of these shifts in gender notions, as they will likely regard masculinity as less restricted and more open to interpretation.
Shubh Mangal Saavdhan, is Bollywood’s quick attempt to challenge the stereotype associated with masculinity. Shubh Mangal Saavdhan by R.S. Presanna is the tale of two genuine lovers who are unable to make “it” work. The moment they discover the man can’t deliver in bed, turns into one of the movie’s highlights. First, Sugandha demands that Mudit initiate the sexual process by saying, “It is the rule,” which is derived from a patriarchal worldview that has been gradually undermined. This implies that the woman should view herself as typically depraved if she appears to want it more than the male, who is considered the only executor.
Personal and social issues also take center stage. While Mudit views Sugandha’s issue as solely a man’s concern, Sugandha has an unmet biological need. Conversely, the families are eager for the union of the two soulmates. Most significantly, though, is how patriarchy is often distorted as seen by Sugandha’s parents’ threat to call off the wedding and Mudit’s family’s persistent denial that he is temporarily infertile. The movie focuses on how physique is used as an artificial yardstick to define masculinity in order to appease women, and how a marriage is incomplete without a sexually active partner.
Sugandha ultimately accepts the circumstances and develops platonic affection for Mudit. She dispels the myth that a woman is incomplete because of her physical attributes or status as a virgin, and she frees women by supporting Mudit as she breaks free from the mental chains that have bound her. While Mudit is determined to end their relationship since he is unable to make Sugandha happy, she offers him confidence and expresses her hopes for a happy life together. Ultimately, they both wedded while keeping their connection sincere.
Characters in the film reflect the average people against the backdrop of a modern social and economic environment. There is enough drama created by the very small dramatic effect to restore gender roles. Sugandha’s role as Mudit’s savior, rather than the reverse, challenges the boundaries of irrational idealism and shows how our male-dominated perspective hurts both men and women equally. This movie is good because it encourages viewers to think creatively.
A survey of nearly 700 Bollywood films made between 1950 and 2020 found that gender bias had decreased over time (Khadilkar & Mitchell, 2022). The writers examined movie talks using natural language processing (NLP) techniques. They observed that sexist and misogynistic phrases abound in Bollywood films that are financially successful. Positive examples of filmmakers utilizing their platform to encourage attitude change are available (Khadilkar & Mitchell, 2022). For example, the 2020 film “Chapaak” chronicled the tale of an acid assault victim whose quest for justice resulted in a legal change that limited the availability of specific acids for sale (Khadilkar & Mitchell, 2022).
According to Roshni Sharma, a political science student at Jain University and a teacher, distorted perspectives are caused by India’s patriarchal system. The freedoms and liberties accorded to men are not extended to women (Khadilkar & Mitchell, 2022). There are ingrained beliefs about good and terrible women. Bollywood films consistently portray women through a patriarchal prism, emphasizing the idea that women should balance their personal and professional life or give priority to the former.
It’s difficult to pinpoint what inspired these contemporary filmmakers to focus on this theme, but part of the reason for their success is the growing segment of Indian cinema lovers, who are young and morally dubious. Generation Y and Z’s moral compass is more concerned with honesty and transparency in relationships than it is with sexual orientation. They are also aware of the detrimental effects of imposing traditional gender norms and sexualities on people, especially younger generations.
Discussions about topics that were previously, and in some cases still are, taboo have been sparked by these movies. The films I have examined are not simply viewed by intellectuals and/or elites; rather, because of their widespread appeal, they are mainstream and will, as a result, have a greater positive influence on Indian culture by questioning conventional wisdom around sexuality and age-old beliefs while also altering daily norms. It is both a reflection of and a catalyst for more constructive social change that these extreme notions are being pushed by revered actors and movie stars who enjoy such high regard and broad influence.
References
Khadilkar, K., KhudaBukhsh, A. R., & Mitchell, T. M. (2022). Gender bias, social bias, and representation in Bollywood and Hollywood. Patterns, 3(2).
Lakshmi, B. (2020). Redefining the concept of equality in Indian marriages: A feminist analysis of the movie “Thappad.”. International Journal of English and Studies, 2, 71-80.
Madaan, N., Mehta, S., Agrawaal, T. S., Malhotra, V., Aggarwal, A., & Saxena, M. (2017). Analyzing gender stereotyping in Bollywood movies. arXiv preprint arXiv:1710.04117.
Parajuli, B. R. (2022). ‘No’means ‘NO’: A Critical Discourse Analysis of the Image of ‘Bad girls’ in Chowdhary’s Pink. Journal of Business and Management, 6(01), 64-73.
Pink . (2016).
Thappad (The Slap) 2020. (2020).
Shubh Mangal Saavdhaan . (2017).