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The Changing Face of Women In Indian Cinema

In its awe-inspiring journey of almost a hundred years, the Indian film industry, consisting mainly of the star-struck Bollywood, as well as countless regional films, has witnessed a sea change in the portrayal of the female. Protagonist. Yes, one would rarely deny that the Bollywood film industry has been predominantly male-centric, leaving little room for their female counterparts to develop and grow as versatile performers. The roles they played were mainly of the “Sati Savitri” pattern, lacking the variety and depth of the ‘female soul’. However, filmmakers like Bimal Roy, Guru Dutt, Mahabob Khan and Raj Kapoor in the 1950s and 1960s made an exception with their brilliant portrayal of women excelling as wife, mother and lover. Some of their films show the brilliant artistry of the ‘flesh and blood’ women, with all the inner depth and their excellent vigorous individuality. Take for example “Mother India”, “Pyasa”, “Kaagaz Ka Paul” and “Madhumati”. A closer look at all four of these films will show you how they celebrate the extreme grace and vigor of women in the face of personal adversity. These filmmakers have made a constant effort to present the constructive world of the feelings of the heroines with their supreme artistry and the depth of human understanding.

Again, the 1970s, 1980s and 1990s witnessed a severe decadence in the portrayal of the ‘heroine’ in mainstream Indian cinema. It was then that the ‘female’ hero was reduced to ‘heroine’, connoting the image of mere glamor dolls, dancing around trees with heroes and performing cabaret numbers. Thus she was screened as a showcase film or in other words, as a “good touch” to the film, instead of being a flesh and blood human being in her own right. However, even in the midst of such general decadence, a few films by Hrishikesh Mukherjee and Soo Chatterjee stood out as notable variations with the portrayal of the essence of the female soul. Nevertheless, these films had the common success quotient of romantic songs, tunes and other “feel good” factors for which Hindi films are known today. However, the treatment of the female protagonist was sensitive enough, compared to a large number of other formulaic films released at the same time. Take for example “Abhimaan”, where we see the soulful Jaya Bhaduri giving up her music career at the whims of her jealous husband and later coming to terms with her personal torment through the magical device of music. Again, in “Milli”, we find another bubbly and spirited Jaya, suddenly struck down by leukemia and striving to live life with the same animated fervor with her lover. “Chhoti si baat” and “Rajnigandha”, on the other hand, reflect the lives of the working women of the 1970s and the dilemma they experience in relation to the men in their lives, albeit in different contexts.

Leaving aside the mainstream Bollywood films, special mention should be made of the films of Satyajit Ray, Marinal Sen and Hrithik Ghatak in Bengal in relation to the psychological exploration of the female protagonist. Ray, in “Charulata” in the 1960s, introduced us to the glorious “Charu” with all the delicacy and aspiration for a life of creativity. In her relationship with Amal, which begins with Cheru exploring her literary and creative pursuits, friendship and the necessary intellectual attention form the core of this “extra-marital” relationship that changes her inner being forever. Again, Ray in “Ghare Bairey” and “Mahanagar”, portrays the female ever faced with uncertainty and extraterrestrial reality, with an exploration of the emergence of the modern woman in the upper class of colonial India. It is impossible not to draw parallels to Ibsen’s “A Doll’s House”, since these two films, like this play, mark the female’s search for her identity, introspection into her soul and gradual self-realization, which opposes all the fixed patterns of a male-dominated society. On the other hand, Marnel Sen, in “Ekadin Pratidin”, examines the turbulent life of a working woman and focuses on her inner turmoil that questions the so-called “righteousness” of the outside world. The film depicts the trauma caused in a lower-middle-class Bengali home when the youngest daughter fails to return home in time. As the family is engulfed in anxiety, many facades crack and unresolved tensions surface, exposing the hypocrisy and pretensions of so-called “respectability”. Again, in “Dorto”, Sen talks about ‘distance’ between a married couple and the pain of their estrangement. Mamata Shankar here plays the woman who is hurt by the bitterness of the divorce and later shines with the hope of reconciliation.

Hrithik Ghatak’s Mega Dhaka Tara, Kumulgandhar and Subarnarka, on the other hand, depict the clashing worlds of females struggling to make a living in post-Partition Bengal. The partition, with its devastating consequences, forced the women of middle and lower middle class families to become breadwinners. Ghatak’s films, based on these harsh shards of reality, explore the subtle pains of the women in such fascinating situations.

Today, the description of the female protagonist was more and more challenging in the context of her sexual identity. The seed of this journey was first sown by the dynamic Aparna Sen in the 1980s with Paruma, where the woman treads the path of so-called “promiscuity” only to gain psychological maturity in the long run. Today, directors like Deepa Mehta, Mira Nair and Meghana Gulzar are upright enough to depict ‘taboo topics’ such as lesbianism, polygamy and even surrogate motherhood, where its the woman who takes the lead in proposing, making love and even deciding to “hire”. “Womb without her husband-to-be’s permission! While in Ash and Kamasutra, the women brave the world to explore their sexual desires, in Mahesh Manjerkar’s Astitva, the soulful Aditi gives birth to a child out of wedlock and shatters the world of male vanity when the truth eventually emerges. The film questions feminist moral concerns through a detailed examination of sexual and family relationships. Again, just recently, in Shunyo-e-buke, Kushik Ganguly’s Bengali film, the heroine is a flat-chested woman of the 20th century. 21 which questions the very basis of judging a woman’s worth “by her cleavage”. In a false society where a rounded and curvy figure is considered the supreme embodiment of female beauty, where her chest is more valuable than her mind and emotions, this hard-hitting film questions the projection of women as sexual objects .The Indian Society.

Thus, 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 faces of Indian women immersed in the private world of The inner turmoil and the outer world of multiple challenges. Women in India, defined by a relationship and models of conduct within a created society, have learned over the years to live under the twin whips of heritage and modernity; And it would be a blessing if more and more directors in the coming years project the emerging female consciousness, breaking archetypal patterns with their clarity of perception. On a lighter note, our older generation, earlier exposed to the “vampire” Helen, now comes face-to-face with the more “deadly” Urmila Matondekar. Many say the change is “delicious” to their “filmy” palate!

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