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Home , Lage Raho Munna Bhai, Mrinal Sen, Munna Bhai, Munna Bhai (film series), Rajkumar (actor), Rajkumar Hirani

DIDACTICISM IN POPULAR FILMS: A STUDY ON HIRANI'S DIRECTORIAL FILMS

SHREYA N Registered No: 1424048

A dissertation submitted in partial fulfillment of the requirements for the degree of

Master of Arts in Media and Communication Studies

CHRIST UNIVERSITY Bengaluru

2016

Program Authorized to Offer Degree: Department of Media Studies

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CHRIST UNIVERSITY Department of Media Studies

This is to certify that I have examined this copy of a master’s thesis by

Shreya N Registered Number : 1424048

and have found that it is complete and satisfactory in all respects, and that any and all revisions required by the final examining committee have been made.

Committee Members:

______[NARESH RAO]

______

Date:______

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I, Shreya N, confirm that this dissertation and the work presented in it are my own achievement. 1. Where I have consulted the published work of others this is always clearly attributed. 2. Where I have quoted from the work of others the source is always given. With the exception of such quotations this dissertation is entirely my own work. 3. I have acknowledged all main sources of help. 4. If my research follows on from previous work or is part of a larger collaborative research project I have made clear exactly what was done by others and what I have contributed myself. 5. I am aware and accept the penalties associated with plagiarism.

Date:

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CHRIST UNIVERSITY

ABSTRACT

Didacticism In Popular Bollywood Films: A Study on 's Directorial Films

Shreya N

The dissertation titled “Didacticism in Popular Bollywood Films: A Study on Rajkumar Hirani's Directorial Films,” speaks about the representation of didactic elements in popular Bollywood films. Didacticism is a philosophy that has been employed in various artistic endeavours from time before the Ancient Greeks. This philosophy believes that any piece of literature or art are meant to both entertain and educate. Popular cinema is also an artistic medium and has the ability to attract a number of people. Popular Bollywood Cinema helps us to understand a lot about the culture and lifestyle of the people. Though the characters are highly exaggerated in popular cinema it almost serves as the mirror to the society. Popular cinema in the recent times has influenced many people’s lives and these instances are seen to be reported in many newspapers, magazines etc. For the study of the didactic elements four directional films of Rajkumar Hirani namely, M.B.B.S, , and PK have been chosen Through the study the researcher examines how didactic elements are presented to film viewers and shows the importance to understand, explore and analyse the didactic elements in popular and commercially successful directorial films of Rajkumar Hirani.

Keywords: didacticism, Bollywood, popular cinema, Rajkumar Hirani.

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ACKNOWLEDGEMENTS

My sincere gratitude to my Guide, Prof. Naresh Rao and Fr. Biju K. Chacko – course co-ordinator, for their constant guidance encouragement and support. I wish to extend my heartfelt thanks to the staff of the Department of Media Studies and Dr. Arya Aiyappan for their valuable feedback and assistance in bringing out this research.

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DEDICATION To my parents

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TABLE OF CONTENTS

List of Figures ...... xiv List of Tables ...... xvi Chapter 1 Introduction...... 1 1.1 Background to the study ...... 1 1.2 Statement of the research ...... 9 1.3 Purpose and the significance of the study ...... 10 1.4 Research design ...... 10 1.5 Research question ...... 10 1.6 Limitations of the study ...... 10 1.7 Scope for further research ...... 10 1.8 Objectives of the study...... 11 Chapter 2 Review of Literature ...... 12 Chapter 3 Methodology ...... 27 3.1 Definition of research ...... 27 3.2 Research philosophy ...... 28 3.3 Types of research methods ...... 28 3.4 Research methods used in this research ...... 29 Chapter 4 Data Analysis ...... 34 4.1 Summary of the films ...... 34 4.2. Analysis of the films ...... 45 4.3 Comparative analysis ...... 73 Chapter 5 Findings & Conclusions ...... 76 5.1 Summary of the results ...... 76 5.2 Discussion of the results ...... 76 5.3 Limitations of the study ...... 80 5.4 Suggestions for further research ...... 80 Bibliography ...... 81

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LIST OF FIGURES Figure Number Page

Figure 1 Munna Bhai film poster ...... 34 Figure 2 Lage Raho Munna Bhai film poster ...... 37 Figure 3 3 Idiots film poster ...... 39 Figure 4 PK film poster ...... 43 Figure 5 Jadoo ki jhappi ...... 47 Figure 6 Munna and Circuit playing carom in an attempt to encourage the old man to live and attract his attention towards playing ...... 47 Figure 7 Munna using his unconventional methods for encouraging a boy to quit the idea of committing suicide repeatedly ...... 48 Figure 8 Munna gets agitated by the inhumane way of treating Anand ...... 49 Figure 9 Munna Conversing with Anand Bhai as if he was a normal person ...... 50 Figure 10 Munna circling around Anand Bhai in the garden ...... 50 Figure 11 The first time Munna encounters with the apparition of Mahatma ...... 52 Figure 12 Munna hosting a radio show with Bapu ...... 53 Figure 13 Munna Bhai and the old people staging protest in front of Lucky Signh’s House ...... 54 Figure 14 Munna & Bapu at the Second Innings House to give a guest lecture on Gandhi .... 55 Figure 15 A young man calling out to a waiter at restaurant by saying choochoo ...... 56 Figure 16 A man with a smile on his face cleans the spit of his neighbour on his door ...... 57 Figure 17 An old man giving away all his belongings to the officer to get his pension file passed ...... 58 Figure 18 Virus giving an example for "life is a rat race" and people have to work hard ...... 60 Figure 19 Farhan and Raju's households...... 61 Figure 20 Rancho changes a few words in Chatur's speech which makes the speech derogatory and alters the meaning of it ...... 62 Figure 21 Virus screaming at Chatur for his derogatory speech ...... 62 Figure 22 Lobo giving up his life due to pressure and fear of failure ...... 63 Figure 23 Farhan's parents deciding what he would take up as his profession once he grows up ...... 64 Figure 24 PK wearing both men and women attire not knowing the difference ...... 66 Figure 25 PK running away from the ...... 67 Figure 26 PK escaping by being beaten up by Hindu holy people ...... 67 Figure 27 PK escaping thrashings from Muslim women ...... 68 Figure 28 PK running away from Christian priests ...... 68 Figure 29 A photograph of Tapasviji on Jaggu's blanket ...... 69 Figure 30 A screenshot of Tapasviji's picture on a mug ...... 70 Figure 31 Jaggu's Father praying to Lord while on the treadmill ...... 70 Figure 32 Screenshot of e- that Tapasviji offers for his devotees for a price ...... 71 Figure 33 Screenshot of Tapasviji's website offering different types of prashad based on the devotee's preference ...... 71

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Figure 34: PK demonstrating to Jaggu;s father that running a temple involves minimum investment and guaranteed huge profits ...... 72 Figure 35 An instance of 'wrong number' being reported on TV by various people ...... 73

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LIST OF TABLES Table Number Page Table 1 List of films, the language of the film and the themes portrayed in the film . 20 Table 2 The film name, year of release, thematic patterns and issues depicted in the film ...... 45 Table 3 Languages used in the films and the catchphrases ...... 46

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Chapter 1

INTRODUCTION

1.1 Background to the study

1.1.1 Role of cinema in the society

Role of cinema is neither permanent nor easily concrete and quantifiable. The role is directly related to the question of how the filmmakers and the audience approach films and are convinced enough to view films as social developmental tool. The role of cinema could either be significant or, on the contrary not so significant depending upon various factors of filmmaking and film viewing. Films offer a platform where social issues can be projected and discuss. Films entertain, inform and educate the crowd in a subtle manner and targets on the emotional appeal of the viewer. Hence it is essential to address how certain ideas can be facilitated through the medium of films. Cinema, what we see today has evolved so much that it looks very different from what it was in its initial stages. The purpose of films from merely being a mass entertaining medium has transformed to be societal reflectors and vehicles of social change.

1.1.2 World cinema

There is no exact date recorded in history when films evolved. The reason for this is that many indigenous devices like magic lanterns, kaleidoscope, praxiscope were used from a long period of time which served the purpose of projecting moving images on a blank screen. Through these forms of moving images are very primitive in nature the basic principle involved is the same. During 1880s lengths of celluloid films were introduced and this subsequently led to the invention of motion picture cameras which enabled long durations of recording to take place. Films till the 1890s were not more than a minute long mostly due to technological limitations. With this technological development film studios were being set up and led to the establishment of the film entertainment industry. It was in the year 1927 motions pictures with sound was produced. The first film with sound was The Jazz Singer. With this began the Golden Age of Hollywood cinema. This period lasted till the 1940s. World War II had a significant impact on the . The film techniques, the plot and themes all of became drastically different during this time. Cinema during and in aftermath of the war were mainly propaganda and created a renaissance in many film industries across the globe. The films were more realistic, highly influential and patriotic. 1990s saw the development of commercially successful cinema and the creation of independent production companies.

1.1.3 Indian cinema

Indian film industry has its humble beginnings from the screening of silent films which were shipped from the West during the British era. During this time, the films which were being imported from the West and screened in were primarily catering to the British and the upper middle class of the society. With Dadsaheb Phalke producing his first feature film Raja Harischandra, Indian film industry took its shape. Films made by Phalke were predominantly based on Indian mythology and great kings of the past. These plots he believed would attract the Indian audience and resonate well too. Raja Harishcandra created a benchmark in the in India. This film was a commercial success and paved way for more such films to be produced. Theatres were being set up in many parts of India and films screening was done on a larger scale than usual. Post - Independence i.e. the period from 1940s till 1960s is considered to be the ‘Golden Age’ of Indian cinema. Landmark films were produced during this time. This period saw the emergence of a genre of cinema which is the ‘.’ Neecha Nagar, Nagarik, Do Bhiga Zameen laid the foundations for the ‘Indian New Wave Cinema.’ This period also saw the rise of commercial cinema. Classic films like Pyaasa, Kaagaz Ke Phool, Awara, Shree 420 were produced during this period. During late 20th century cinema gained popularity as a collective mass entertainment medium. Tickets were priced economically and majority of the population were able to afford to watch films. This was also the period when Indian films also got recognition overseas.

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Modern Indian cinema has a heavy influence from the films of the Golden Age. Modern Indian Cinema is technologically advanced with brilliant graphics and the use of varied production and post- production techniques. There is an increase in mainstream commercial films but parallel and documentary films too are also on the rise. Films made in India, whichever region of the country they originate from, are influenced by six major themes:  The ancient epics  Sanskrit drama  Traditional folk theatre  Parsi theatre  Hollywood Western musical television (Wikipedia, 2015).

1.1.4 Regional Indian cinema

Language has played a major role in India. The division of states in India after gaining Independence was on the basis of the language spoken. Likewise, there is no one particular industry which can be called ‘The Indian Film Industry’ per se; like in the case Hollywood (the Film Industry of USA.) Multiple film industries across the nation collectively form the ‘Indian Film Industry.’ In India, film industries are based on the language spoken in the region where the industry it originates from. For instance, in South India the 4 prominent film industries are:  Tamil film industry – Tollywood (Tamil Nadu)  Telugu film industry – Kollywood ( Andhra Pradesh / Telangana)  Malayalam film industry – Mollywood (Kerala)  film industry – Sandalwood () There are many more film industries in India based on the linguistic distinction of this kind. Language plays an important role in film industry in India. Each film industry is unique not only in terms of the language but the plots of the films, filming style, dialogue delivery etc are all exclusive and are like a trademark of the film industry. All these attributes of the film industry are in accordance with the region’s ethics and culture. The regional films resonate the environment around them and sort of build a regional identity.

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1.1.5 Hindi cinema

Focusing on mainstream Hindi film industry which is considered to be crème - de-la- crème of Indian film industry, is not region centric unlike the previously stated Indian film Industry. Hindi is spoken in only few Northern states of India and is one of the official language of the State. Exploring how this language evolved from classical languages – Urdu and Sanskrit, will give insights on how the language stood synonymous in building national identity and integrity. Discussing upon how this language is connected with the genesis of the nation and its language politics, we can see the tensions that besieged amongst the social and ideological players. The reason behind Hindi being chosen as one of the chief official language of the country also comes into the picture when these tensions are churned out. It is interesting to see when the same language used in different occasions bears binary connotations. Like for instance, Hindi when used for administrative purposes the language sounds more classical and elite and while used in films it is more common and plebeian. It is remarkable to see how this official language based films industry (Hindi film industry) has successfully managed to transcend over regional barriers and surpass every regional film industry in India. The Hindi film industry has its base in Bombay (now ) where there is also the presence of Marathi film industry. Hindi film industry just like the Marathi film industry produces landmark films, as stated by Vinay K.M in his book titled Concise Encyclopaedia on Hindi Film and Indian Culture, “Hindi filmic structure transcends the textual confines of knowing, understanding India and its Cultural diversity.” Indian culture is a potpourri of multiple languages and dialects, class, caste, religious affiliations, regions (states), cultural practices and socio-cultural conventions and; Hindi cinema has managed to inculcate and absorb all these aspects of Indian Culture and form a unique film industry which resonates with the integrity of India. Hindi films over the years has managed to depict Indian culture, the class structure, caste, gender and also the growing and emerging trends in the country. These films also have the ability to retrospect the element of social change from keeping in mind the human identities which are constantly under transformation due to various factors. These transformations lead to the expansion of the public sphere of the present day contemporary society and culture.

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Currently on an average eight hundred movies are produced in India- inclusive of regional and mainstream cinema, making the Indian Film Industry one of the highest film producers in the world. Initial Indian movies were based on religious and folk themes. Out of these eight hundred movies produced in India as estimated in the survey conducted in the year 2003, around two hundred and twenty films are in Hindi language alone. It is now truism to say that Hindi cinema is closely connected with the imagining of the Indian Nation. Thus, it would also not be wrong to state that Hindi cinema is the primary ‘dominant culture manufacturing institution’ and assisted in the ‘imagining of The Indian Nation.’

1.1.6 Bollywood

‘Bollywood’ a term created by the Bombay's film industry which produces films in Hindi - is the most popular film industry of India. Hindi cinema industry is the largest film industry in the country and to an extent across the world. Approximately two to three films are released every Friday and are screened for an average of fifteen million people every day. Bollywood since the beginning has been instrumental in providing affordable entertainment to the masses. Bollywood films, have been able to surpass all regional boundaries and has captured a large number of audience down South too. Apart from that Bollywood also finds an audience base in many foreign countries too, this is all possible due to the increase in the NRI population to some extent. Apart from this, the extensive promotional techniques and out of home shooting of the films add on for the rise in foreign fan base rise.

1.1.6.1 Commercial films

Commercially successful films play a major role in creating popular Indian consciousness. Commercial films are very significant when it comes to generating popular response and shaping popular imagination. These films with their combination of song, dance, fantasy, action and spectacle attract Indian audience. In Indian commercial films, morality plays an important role. In these films one can witness virtuousness triumphing over malevolence, and the social order, questioned by the activities and actions of improper and abhorrent individuals, is restored by the force of righteousness. Entertainment and education are amalgamated in a manner that

5 has a direct appeal to the mass film goers and the thought of abhorrence and evil is the focal point in Indian commercial discourse. Melodrama is at its top in Indian commercial movies. Elements of Melodrama such as, the polarization between good and bad, the conflict amongst righteousness and immoral, the hatred between what is idealistic and what underhandedness is certainly present.

1.1.6.2 Parallel Cinema Parallel Cinema is a film movement in Indian cinema that originated in the state of Bengal in the 1950s as an alternative to the mainstream commercial Indian cinema, represented largely by Bollywood. This genre of cinema was heavily influenced by Italian Neorealism, and was a precursor to the Indian New Wave which began in the 1960s. Notable directors of this era are undoubtedly , Mrinal , . Films of this era garnered popularity for their sheer depiction of stark realistic plots, settings, characters and roles. The absence of song and dance is what made this genre stand out from the rest. The films are also known for its serious content and the depiction of social issues. Off late we can the influence of this era on present day filmmakers too. But the dominance of the ‘Bollywood masala’ seems to have infiltrated and making films take a different course but has a sound backing of elements of Parallel Cinema But nonetheless, films like Dor, Gulal, Udan, all deal with social issues and at the same have managed to include the entertainment factor which is very much essential for a Bollywood film’s success off late. This research study looks at how Rajkumar Hirani’s films too have a heavy influence of the parallel cinema as to an extent he too depicts social issues in his films with a pinch of humour… making the films more popular commercial films than a film of parallel film genre.

1.1.6.3 Popular Bollywood cinema

Popular Bollywood cinema provides an interesting picture of Indian history and cultural politics of the country. Popular films tells us a lot about the culture where they are viewed and enjoyed; even though they may not reflect “reality” in the way that academicians may want to portray a country. Popular films get at the deepest longings

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and fears of their viewership and their biggest hopes for the future (Parameswaran, 2010). Popular cinema is a spectacle and not an artistic endeavour. What differentiates popular Bollywood from the rest of the other kind of films is that the films are not concerned with the inner life of the characters but that of a viewer in an unconscious and unintentional manner. In popular films the way the character and the situations in the film develop is quite different. In popular Bollywood cinema we see that the characters do not develop through situations rather situations develop through characters. In the later part of the research study this phenomenon is explained and it can be observed that the film story is narrated through a series of incidents which are interlinked through many means like coincidence, accidents, song and dance. In popular cinema there is no unexpected conclusion as such but a predictable climax is present. Art and parallel cinema presents to the audience with something unknown to them. Popular cinema on the other hand presents elements and themes with which the audience are pretty familiar with. These films create the atmosphere of déjà vu and unintentionally and unconsciously creates a psychological impact. Popular cinema is heavy with stereotypical details and character – the character is the archetype of the cultural concerns, which, if given a specific historical setting, would become less forceful, less black-and-white, and thus less communicative. This can be seen in the case of Rajkumar Hirani’s films – the character of Tapasviji from PK, Chatur and Virus from 3 Idiots to name a few are all representational characters whose persona can be seen in people in real life . From time and again we can see that Indian commercial films have been playing an instrumental role in being the dominant and ubiquitous role in creating the notions of heroism, duty, courage, modernity, creation of ‘Indianess” – in terms of fashion and lifestyle. The relationship between modern popular notion of modernity and liberal thinking. Recent popular films like Queen and Kahaani explore the capabilities of a new age woman and break the notion that women are restricted to only indoor activity and require constant support from men. Popular films thus, become an important area to be researched upon, though everything is obvious yet has layers of unconscious material hidden in them which is unknown to many.

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Only a thin line of difference can be observed between commercial and popular cinema, the difference being that commercial films seek monetary gain and success and popular cinema may or may look deeper into monetary gain but it surely does get a good critical acclaim. What is common in both the film kind is that the presence of characters who are easily recognizable and stereotypical and can be classified as virtuous or evil. Evil force plays a major role in both the type of films. Evil is innate to melodramatic film, this is because by vanquishing the villain and the evil, melodramas seek to restore the moral authority of world that for a while which was vulnerable to fall into the traps of the dark or evil force. This innate aspect of showing the triumph of good over evil and what is just and moral in melodrama can be related to didacticism. Most of the commercial and popular cinema from a really long time teach the audience what is good in the society and what are the evils in the society and how can one overcome it. In Bollywood Popular and Commercial films, as mentioned earlier, evil plays a major role. It is innate to the films and over the years their response to social – political and cultural forces have transformed themselves. It looks like somehow Bollywood takes upon its shoulders to teach its audience as to what is righteous and what is evil. Bollywood takes up this didactic initiative to entertain and educate its masses. This can be seen in films over the years. Well known popular films like Awaara (1951) directed by was very commercially successful at that time and also a popular film. Awaara’s popularity was not only in India but across the globe and was well received by the audience of the former . This film was well received due to the socialist themes it portrayed and themes were real and instances from the film were pretty much the same during that time. Looking at the above stated examples we see that media has the ability to provide knowledge and create awareness that will tell people about the substantial events, opportunities, dangers and threats in their community, country and their world. (Gonzalez-Mena, 2010). Film is also a form of media. Likewise based on Albert Bandura’s Social Learning Theory of human judgment, values and belief system can be altered by televised modelling without having to wait for an influential intermediary to adopt and model what has been shown. (Bandura, 1999) Since films have an ability to influence a mass audience it is important to study the constituent elements which help creation of such mass social change. It is therefore

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very important to critically analyse these popular commercial films which instigate change and have a psychological impact unintentionally.

1.1.7 Rajkumar Hirani

Present day Bollywood filmmakers like , , have all experimented with popular culture films. Out of the lot of commercially successful popular filmmakers Rajkumar Hirani stands out. An introduction into Rajkumar Hirani and his work will help in understanding the director of the films chosen for the study. Rajkumar Hirani is an Indian , and film editor known for Hindi films. Hirani began his career in the field of advertising and moved up the ladder by establishing himself as a director and producer of advertising films. He is the man behind some classic advertisements like the Fevicol – “Jor Laga Ke Haisha” and the Kinetic Luna Ad. Hirani’s film career began with working for Hindi filmmaker Vidhu Vinod Chopra. Rajkumar Hirani’s first big debut was as the film editor for Mission . Rajkumar Hirani after this laid his hands on his first directorial venture – Munna Bhai M.B.B.S in the year 2003; which was huge hit. His next movie, a sequel titled Lage Raho Munna Bhai had a strong cultural impact. The movie was well received both by critics and the mass audience. Since Lage Raho Munna Bhai, he directed commercially successful popular culture films, - 3 idiots and PK. Rajkumar Hirani has won a number of national, Filmfare and IIFA awards under various categories for his various films. Every film of his has been commercially successful as stated above and every film apart from entertainment has managed to unconsciously trigger the minds of the audience to think in a particular way which has had a significant impact amongst the social and ideological players.

1.2 Statement of the research

“A study of the didactic elements in directorial films of Rajkumar Hirani” From understanding the definition of the word ‘didacticism’, to researching and studying the elements of didacticism in the directorial films of Rajkumar Hirani, this research aims at critically analysing the commercially successful and popular cult Bollywood cinema.

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1.3 Purpose and the significance of the study

The purpose of this study is to identify and critically analyse the didactic elements in Rajkumar Hirani’s directorial films. Rajkumar Hirani’s films are seen to portray elements of popular culture, social issues and the same time commercially successful. Thus, the purpose of this study is to understand various didactic elements and also lay a foundation to understanding films of this genre and help future filmmakers and critiques to understand this section of Bollywood films.

1.4 Research design

The research method used for this research is qualitative. Qualitative analysis is employed to understand the elements of the film and arrive at conclusions. Content analysis was employed to study the various elements and a theoretical backing for the findings was employed. Didacticism, social learning and cultivation theories provide theoretical grounding for this study.

1.5 Research question

 To study elements of didacticism in popular Bollywood cinema.  To compare and contrast certain societal structures in the Directorial films of Rajkumar Hirani.

1.6 Limitations of the study

A research cannot be carried out without some difficulties. Some of the limitations of this study are:  Time period of the research.  Audience perception was not considered.  Very few elements of didacticism were chosen for the study

1.7 Scope for further research

 Other popular and commercially successful films can be compared and contrasted.  A quantitative approach can be used to study the effectiveness of these popular films.  More elements of didacticism and thematic patterns in the film can be analysed.

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1.8 Objectives of the study

 To study the didactic elements in Rajkumar Hirani’s directorial films.  To study the representation of the society and culture through popular Bollywood cinema.  To compare and contrast various didactic elements in Rajkumar Hriani’s films to understand his style of filmmaking better.  To understand popular filmmaker’s filmmaking technique in terms of the story and characterization.

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Chapter 2 Review of Literature

Review of literature is a very important part of a research study. It is necessary to understand what we mean by review of literature and the need for literature for the dissertation. Literature review does not simply involve reviewing and critically analysing articles published in the editorial and review sections of newspapers or books but involves reviewing and critically evaluating research literature (Hart, 1998). Film as an industry began to evolve during the late 1800s and in the early 1900s and from then on films have been produced in various regional languages and also in Hindi. Close to a thousand movies are churned out of India in both regional and mainstream cinema, making the Indian film Industry one of the highest film producers in the world. Initial Indian movies were based on religious and folk themes. The first Indian movie which was made by Dada Saheb Phalke was Raja –a movie based on a mythological character. Films over the years have been used for spreading messages to the society, and history has shown that films have an impact on the people. In the early 1930s films with strong messages on untouchability, farmer issues and other issues prevalent at that time were addressed through films. At the same time India was going through a lot of economic and social changes with a lot of social movements, reforms and most importantly films with the sense of unity and spirit of freedom, these became themes of films. “’s Mother India (1957), and ’s Do Bhiga Zameen (1953), communicated feudal oppression (Murthy C.S.H.N, 2011). As C.S.H.N. Murthy mentioned in his paper, India faced feudal exploitation and poor farmers were forced into be bonded labour. Films like Mother India starring , as the “Mother” who stood against all odds and fought against this social evil; was considered to be a landmark film in the Hindi / Bollywood film industry. Hindi cinema went on to focus on other different social themes over the years, and movies based on various themes and issues both urban and rural centric have been made. In present times movies are mostly urban centric both negative and positive

aspects of the urbanization and urban world, occasionally themes based on historical figures and mythological figures have been used to answer certain urban issues. It is necessary to understand film production and viewing culture in India before films can be studied. Film production and viewing culture has a direct impact on the society and their response to films. Few facts mentioned by Jack Howard in his study on the film in India are that “total production runs about two thirds of U.S production, twice as much as Japan, two and one-half times that of France, and more than five times Italian production.” (Howard, 1952)But still the western world knows very little of Indian film industry. The probable reason Jack Howard gives is that of language barriers and production standards limit the export of Indian films. But due to the rise of Indian diasporic communities across and better directors and film producers entering the Indian film industry, few if not all, are getting worldwide release. In, “The Film in India” Howard quotes Lateef, saying that movies are considered to be primarily entertainment and escape for the audience. Dance and music are integral part of Indian culture and this is reflected in Indian films too. Most of the Indian films have a lot of dance and music in them. Films in India had a lot to take from historical episodes, epics (Ramayana and Mahabharata) and not to forget mythology. All of these had fantasy element in them. Right from the first movie that Dada Saheb Phalke made on the mythological character Raja Harsihchandra a lot of films on similar lines have been made in Indian languages over decades now. Fantasy is one thing that has glued Indian audience to films since its conception. Films serves as an escape from reality and that is what fantasy does. In his paper “The medium is the new monster” Adam J. Frisch quotes what Bellin writes in his thesis paper that, “fantasy films, which in this text include everything from make-believe Sindabad adventures to conventional sci-fi films such as Jurassic Park.,” both these films reinforce and undercut the audience’s real-world prejudices and preconceptions. (Frisch, 2006) Considering Hindi commercial cinema, which is famously called as Bollywood, it is the fast growing and is an industry growing younger as years pass by in India. Bollywood over the years has change tremendously and has produced films which are cult classics. From just being an Indian film industry catering to only Indian audience; this film industry has garnered audiences across the globe. It is the “skilfully choreographed dances, moving songs, aesthetically pleasing or lavish sets and costumes and sensational plots and characters that have invited the attention of newer and wider 13 audiences and, in tandem, given rise to literature that seeks to explain, or to explain away, the popularity of Hindi films.” (Banaji, 2011). Even in the 1980s Indian films made by the legendary Raj Kapoor had a number of viewers from . Now a lot of films have worldwide releases and certain films have alternate endings to suit the audience in various countries where they are screened. The author Banaji in her paper talks about historical context of Hindi films which were based on the good Vs evil, based on emotion, formulaic, escapist, patriarchal, melodrama, and/or ultra-nationalist and generally politically reactionary (Banaji, 2011). These elements of Bollywood cinema rightly stated by Banaji can be collectively called as ‘Bollywood Masala.’ This Bollywood masala can be seen in Rajukumar Hirani’s films – Munna Bhai M.B.B.S, Lage Raho Munna Bhai, 3 Idiots and PK. These films will be studied in detail as part of the case study to explore and understand how the director Rajkumar Hirani has made use of these elements of Bollywood masala to weave a story with a social message in mind and also study how these films have impacted the society. Does using clichés actually work? The solution to this question will be arrived at the end of the research. It is known to all that there are over 2 million Indians who go to the Theatres every day and on an average 6-10 films are released at the box-office in numerous Indian languages every Friday. We can estimate that on an average at of least 5-6 films that are released in a month are Hindi films. To substantiate the estimate of how many viewers does Bollywood have the IIFA website will provide accurate and factual statistics. Apart from this, Hindi films which are melodramatic, highly emotional etc., somehow move the Indian audience so much that they being to copy the character in the film or even think they are the character themselves. Just to give examples when the films Bunty Aur Babli and Jab We Met released women of all ages across Indian began to dress up like Rani Mukherjee like the character Bubbly with collar neck salwar kameez and T-shirts with Patiala pants like Geet a character played by from Jab We Met. Apart from this “the elevation of crime in the movie inspired many people to emulate the glamorous couple, resulting in a bizarre trend of real-life Buntys and Bablis.” (Anonymous, 2015) People have imitated talking and even the behaviour of iconic characters to begin with. Some characters have become so influential that they are considered ‘Gods’ and are adored and worshipped. People derive tremendous inspiration from film characters so much so that influences the community of people that the character is

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coming from. Classic examples for this could be ’s film Coolie which released in the year 1983. The character of coolie or a porter played be Amitabh Bachchan in the movie inspired millions of porters in India and made them form unions and stand for fellow porters. Down south a Sandalwood film (film from the Kannada film industry) named Auto Raja which release in the year 1982 had a similar impact as did Amitabh Bachchan’s Coolie did but the community which was autorickshaw drivers in the state. Even after decades of the film’s release and also the death of the has not changed the impact of the films instead films inspired on the character ‘Auto Raja’ are made and remade. The film continues to influence young autorickshaw drivers across the state of Karnataka so much so that drivers stick and paint images of Shankar Nag on their autorickshaws and also celebrate his birth and death anniversaries. From this we can say that film as a medium has an influence on the society and socialization. This form of media can be rightly called as mass media simply because it can reach out to hundreds of people at once like newspapers, radio and television does. Thus we can say that media has an influence on socialization (Mena-Gonzalez, 2010). Role of cinema is neither permanent nor easily concrete and quantifiable. The role is directly related to the question of how the filmmakers and the audience approach films and are convinced to view films as social developmental tool. The role of cinema could either be enormous or, on the contrary very meagre depending upon various factors of filmmaking and film viewing. The role of media in development communication is crucial. Media has the ability to provide knowledge and create awareness that will tell people about the substantial events, opportunities, dangers and threats in their community, country and their world. (Gonzalez-Mena, 2010). In this process of bringing social change, film as a medium has a major role to play. Social change is not only about big revolutions and revival, but also changes in the daily attitudes of the people. Films can also be a powerful tool in long-term social change if they are delivered in collaboration with on-the-ground groups that are already engaged in the issues relevant to the film (Mukherjee, Emergence of Cinema as a strong Tool of Social Change, 2015). Films offer a platform where social issues can be projected and discuss. They entertain, inform and educate the crowd in a subtle manner and targets on the emotional

15 appeal of the viewer. Hence it is essential to address how certain ideas can be facilitated through the medium of films. Provoking social change to occur is a difficult task. The term ‘Social’ involves the society of people, their values, beliefs, cultures, etc. The term change refers to transformation and alteration of any kind. Thus, social change would refer to alteration, transformation or modification of society’s behaviour, beliefs values and cultures. Social change will not happen in minutes or seconds. For a change to happen in the society it takes years and the transformation happens in stages and steps that mainly involves a lot of people of different mind-set, upbringing and backgrounds. Social change involves a complex interaction of environment, technology, culture, personality, political, economic, religious practices and beliefs. Media acts a powerful tool for social change. Film which is also a form of media, influences the minds of the people and helps in bringing about a change. Films often can be seen as the ideal world the people wish to see, most of the time an ideal person who is the hero in the film fights against social injustice and saves the society. This is typical of super hero films but these days in films which have no super heroes too are based on this theme. To name a few like Dabaang, Oh My God, etc. Few mainstream Bollywood cinema focus on social issues and a common man’s character is transformed into a super hero like character and saves the society. Cinema as mentioned earlier in India is celebrated and is almost like a religion. With large number of people thronging cinema halls everyday watching a number of films released in multiple Indian languages. With huge fandom, fan following and worshipping of film stars we can surely see the impact of films in India. Films in India have proven to motivate and bring about a change in the society. Examples of movies have already been mentioned earlier. These films have created a phenomena and even after decades after the film’s release they have continued to move masses. Classic example in Karnataka would be Shankar Nag’s Auto Raja , Sangliyana, C.B.I Shankar to name a few. The film Auto Raja brought the auto-driver community in the state together form unions for the welfare of fellow auto rickshaw drivers. Films certainly enable in bringing about a change, at times the change might be subtle and at times they might be very big. Bollywood films like Mother India, Bandini, Achhoot Kanya, Pakeezah, Manthan to name a few old classics. In modern times films like A Wednesday, Dor, Oh! My God, Kya Kehna, Taare Zameen Par, Rang De

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Basanti, Udaan, Balckfriday, Swades have created a similar impact of bringing about social change in India. Thus, when it comes to defining social change; social change can be defined as: “the alteration of mechanisms within the social structure, characterized by changes in cultural symbols, rules of behaviour, social organizations, or value systems (Form, 2014).” In the research paper “Emergence of cinema as a tool for social change” Tanushri Mukherjee highlights that Indian cinema has changed and cinema of the present times has moved beyond movies woven based on damsel in distress who is waiting for a fine handsome prince charming to come and rescue her from the villains and have an happily ever after love song. She considers today’s cinema to focus on “realistic issues and matters rather than depicting impractical and unrealistic stories and it plays a major role in portraying certain fundamental social and political issues which not only entertains the masses but also educates them on these issues and helps them develop an opinion thus acting as a strong tool behind Socio- Political Transformation and Mass Enlightenment. Movies have drastically transformed not only in technical terms but also in terms of story lines, nature of portrayal of characters, genders and issues (Mukherjee, Emergence of Cinema as a strong Tool of Social Change, 2014).” During the 60s and the 70s too many notable filmmakers like and Stayajit Ray made films on realistic themes. They are even spoken about till date and are considered to be classics. But films of Satyajit Ray like Pather Panchali and Shyam Benegal’s films were considered to be ‘Art Cinema’ or ‘Parallel Cinema.’ Though these films were all critically acclaimed and did influence people, these films were never considered to be a part of mainstream cinema. Mainstream cinema of yesteryears was a typical Bollywood with song, romance and drama. In the 80s and initial 90s Bollywood cinema saw the rise of new films with family dramas as the central theme. Ashique, Hum Aapke Hai Kaun, Maine Pyaar Kiya, Hum Saath Saath Hain, which had become household names and created box office records, were all family dramas based on simple, emotional stories which could be watched by the entire family and were a total three hour entertainment. Dialogues and songs were given more attention and filmmakers attracted audience through dramatic dialogues in the films and also romantic songs. Characters too were very stereotypical and were highly predictable too. 17

Mukherjee in her research paper identifies present day Bollywood cinema act as mirror to the society and filmmakers don’t shy away from making films on burning topics, highly sensitive issues too. Filmmakers she says are ready to experiment with storylines, , plots etc. To study on the present day films as a tool for social change she looks into the following domains of:  Gender  Storyline  Technical advancement  Themes and plots of films In another major study conducted by C.S.H.N Murthy and Retamoni Das compares Lage Raho Munna Bhai and Stalin in their research paper titled, “ Social Change through Diffusion of Innovation In Indian Popular Cinema: An Analytical Study of Lage Raho Munna Bhai and Stalin.” The paper compares the contemporary cinema and the cinema of the earlier decades. The paper highlights that earlier cinema largely focuses on religious or folk or rural life and the storyline was very predictable and dramatic ending – what we call as filmy endings. Present contemporary cinema in this paper says that cinema brings before diverse issues, concepts and problems of society. The paper makes an in depth study of two films which created box office hits and were pretty unconventional during their release time - Stalin and Lage Raho Munna Bhai mainly because of their new concept and some new lesson to deliver to the masses. Both these research papers arrive at a similar conclusion that Bollywood cinema has transformed to a great extent and also that the likings and the preference of the people have also changed too. People of the present times prefer more realistic films and films which they can relate well to. Films related to the society and social issues make money at the box office. It is not only that these films create box office records they also make people question the social practices and issues. Films like , Kahaani, Peepli Live, , Taare Zameen Par, can be used as a strong tool of ‘mass enlightenment and social awareness.’ More than half of India’s population comprises of the youth. We can thus roughly conclude that majority of the population who watch films Bollywood films in particular are the youth only. Thus, it becomes important to understand the impact these films have on adolescents and the youth. A sociological study conducted by Goswami

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Ruchi and Kumar Manju on the impact of Indian Cinema on Adolescents focusing mainly on adolescents of Jaipur- Rajasthan and the results of the study prove that cinema can be a powerful medium of information, education and entertainment and results in the process of opinion building in various social groups. Cinema is the medium that reciprocates in bringing a social change (Ruchi & Manju, 2013). This study was a very detailed sociological study with objectives to study the changes seen in the lifestyle, behaviour, change in interests of the different sections of the society. Social change can be brought out by educating or teaching values that are desired. Previously mentioned studies have shown that films have an impact on the society and can be used as a tool for social change. A scholarly article by Gowri Parameswaran titled “Teaching India with Popular Feature Films” is on the same lines looking at how popular Bollywood/ Indian cinema can be used as a text to learn and talk about India and the general themes that get floated around. She primarily focuses on how cinema can be tool of education for high school or higher education audience. Parameswaran says that films made in India by Indians have a different story grammar, take up local themes, and use traditional story-telling methods (Parameswaran, 2010). Emotions are boldly represented on screen where at times you can see a hero shedding tears. Love, happiness, sorrow, pain etc. are depicted in song and dance. Emotions are not subdued or toned down like in the case of Hollywood films. Indian cinema explicitly portrays emotions and thereby viewers have a much more intimate glimpse into ordinary lives in India. Though the film may not be realistic, Indian popular cinema hits on the emotional and sentimental aspect of its viewers. These story-telling techniques, storylines and local themes will help high school or higher education audience to understand the nuances of the country better. Parameswaran in her article mentions few notable Indian cinema and the language the film has been made and the themes discussed.

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The following table highlights the films that have been discussed in the scholarly article written by Gowri Parameswaran: Table 1 List of films, the language of the film and the themes portrayed in the film

Film Name Language Theme

Mirch Masala Hindi Gender, rural life in India

Mr. And Mrs. Iyer Hindi and English Caste and Religious conflict, prejudice, gender, and romance

Dharm Hindi Caste and religious issues, gender and social class

Firaaq Hindi The Gujarat riots of 2006, Hindu Muslim conflict

Ramayana Hindi Indian mythology

Mahabharatha English Indian mythology

Akaler Sandhane Bengali Rural poverty and activism

The Apu trilogy Bengali Gender, poverty, social class, and work and family life

Swadesh: We, the people Hindi Community action, social justice, modern India’s development choices

The legend of Bhagat Singh Hindi : The Indian Freedom Struggle, Bhagat Singh, social inequality

Asoka Hindi Asoka, Non-violence, Buddhism

Junoon Hindi The 1857 Indian Mutiny against the British, British Indian relationships, Social class during British rule

Parineeta Hindi Love and faith, social class

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Makhdee Hindi Gender, childhood adventures, friendship and sibling relationships

Manthan Hindi Community organizing, collective farming

Thanneer Thanneer Tamil Community organizing, water issues

Ramchand Pakistani Hindi India border conflict, social class, gender

Bombay Hindi and Tamil Religion and conflict, the Mumbai riots of 1992

Dil Se Hindi Terrorism, romance

Many elements in films help in provoking social change to occur. Most often it is the characters or roles and songs which inspire people or attract a section of the society. Lead actors with their charisma, dialogues and life like acting in films have brought about a change in the society and there are many movies to prove it. An example of this kind would be Shankar Nag’s film Auto Raja, Amitabh Bachchan’s Coolie to name a few. Villains are an important element in films. Mogambo of Mr. India, Gabbar Singh of Sholey, Sukhi Lala in Mother India all these villains have made their presence felt. Without the role of a villain in the film the role of the hero is incomplete. For it is the villain that the hero has to fight against and save the people. These villains from time to time have taken shape of various people, blind beliefs and social stigma. In the classic film Mother India the villain was in the form of Zamindar and the evil bonded labour system that was prevailing for quite some time in India even after gaining Independence in the year 1947. The heroes and the villains in the films have thrilled and entertained the audience and also passed on messages to the film viewers. The valiant hero who is ideal with all the possible good qualities, cannot stand any kind of injustice rise against social evils and villains and protects the people. In the book review of Tapan K. Ghosh’s Bollywood Baddies : Villains, Vamps and Henchmen in Hindi Cinema, Imke Rajamani talks about how the role of evil in popular Hindi cinema can be very meaningful and worth researching,

21 debating and can be discourse of its own. The author in his book has projected the villains in a position where one can empathize with them. In one section of the book the author provides an analytical historical approach in which he traces the change of the villainy form from the 1950s till the present times. The author relates the increasing growth of industrialisation, urbanisation in the post –Independence India the evil characters change from being village money lenders and greedy Zamindars to the Mumbai based businessmen, underworld dons and crooked politicians in the 1970s. In the 1980s the villain became more charismatic and hard to get challenging the image of the hero. In 1990s saw a change in the image of the villains: “Instead of narrating the duel fight between good and evil, these films present shady characters that exploit the moment of surprise, for example, when the lover unexpectedly turns out to be a killer and murders his fiancée. With the decline of action films during the 1990s and the return of the romance through the concept of rebellious love, clearer distinctions between good and bad seem to return to the screen. The villains tend to become weaker than their powerful predecessors in the 1970s and 1980s (Rajamani, 2015).” The present time has seen villains who have become much more powerful and stronger in all possible ways. This can be seen in the remake of the film Agneepath, the role of as Kancha Cheena where Kancha was more powerful and perverted that the original villain. Ra One a super hero film of the recent times saw another form of a villain. This film had such a powerful villain- Ra One.who was undefeatable. The film used maximum technology in the making and elements of sci-fi was present in the film. The author mentions classic villains of every decade which can be related to the real life villains in the society of that time in India. These villains helped in the creation of landmark films in the history of Bollywood which had an impact on the nation and also the box office. Mehbob Khan’s Mother India which was released in the year 1957 had Sukhi Lala a penny-pinching tight-fisted moneylender. In the 1950s and before that India had the zamindari system in the rural parts. Zamindars were rich landlords owing acre and acres of land and often lent money to poor farmers who were most of the time illiterate and got lured into the landlord’s words and ended up begin bonded labourers for generations. This was a social practice and poor farmers lost their land, money crop and at times unable to repay debts committed suicide. Mehbob Khan’s Mother India was

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revolutionary and depicted this social evil with Sukhi Lala as the mirror to the real life cruel Zamindars and Nargis as Ma (Mother India) who with her sons fought against Sukhi Lala. Dacoits flourished during the 1950s till the 1970s. India saw many infamous dacoits and were played Robin Hood’s role in the region they were in. Dacoits were the subject of several films made during this decade, beginning with Ganga Jamuna (1961) and Raj Kapoor’s Jis Desh Mein Ganga Behti Hai (1960), and 's Mujhe Jeene Do (1963). Sholay (1975), where the character of Gabbar Singh was played by Amjad Khan. Sholay became a classic in the genre, and its success led to a surge in films in this genre. In present Bollywood film scenario villains – both fictional and real characters of the past and the present are taken up and films are made. The Bollywood films have moved on from merely giving a human form for a villain to portraying certain social beliefs, myths etc. as the villain in the society and how it is creating anarchy. An example with this contemporary beliefs would be ’s Oh! My God which was released in 2012, Peepli Live by Anusha Rizvi, Mahmood Farooqui in 2010, Chup Chup Ke, Rocket Singh Salesman of the Year etc. Rajkumar Hirani’s directorial films also have a similar story line which is the focus of this study. It is interesting to see how the infamous ‘Bollywood Baddies’ can be understood as markers and factors of landmark changes in India. To substantiate the book Bollywood Baddies: Villains, Vamps and Henchmen in Hindi Cinema, Tapan K. Ghosh has given the example of Raj Kapoor’s 1951 film Awara. The author believes that it is through the dacoit character – ‘Jagga’ that the socialist agenda which was prevalent during the Nehruvian era was projected. Had it not been for Jagga Daku to lure Raj into thieving and robbery when he was a kid, Raj Kapoor would not have been able to depict the poor and how circumstances paved way for young boys and men of the lower poor class into anti-social practices. The movie was quite relatable for majority of the audience of that time considering the scenario of that time and it sure did influence people to fight against the socialist agenda in a subtle way. Antiheroes throughout the history of films have made an impact with their unconventional roles. Merriam-Webster online dictionary define anti-heroS as “ a main character in a book, play, movie, etc., who does not have the usual good qualities that are expected in a hero.” It’s often the plot and the extraneous conditions which make an antihero. This kind of phenomenon can be seen in South Indian films too. Chandan 23

Gowda in his article titled ‘Machhu- Langu Kannada films’ attempts to look at changing political morality in the present times and also speaks about the influence the anti- heroes have in building the climax and situations which lead in provoking people towards making changes in their society. The author considered the following films to base his argument upon:  Om (1995)  Ak-47 (1999)  Majestic (2001)  Daasa (2003)  Kariya (2003)  Kalasipalya (2004)  Jogi (2005)  Deadly Soma (2005) The author states that these ‘machhu –longu’ films begin under the carpets of near-total triumph of a corrupt system. The various environmental and situational factors, the author says, pull the hero into indulging in violence and turn him into an anti-hero. Anti- heroes according to the author, “exhibit virtues of honesty and fair-play amidst their violent efforts to carve domains of autonomous authority within an evil system. The violence of the anti-heroes, however, is ultimately not condoned in any of the films. Punishment awaits them in the form of death or life imprisonment. Violent means of achieving the ends of social justice continue to be morally illegitimate in these films (Gowda, 2009).” Tracing the rise of anti-hero popularity in Bollywood film industry, it can be seen during the 1970s with Amitabh Bachchan. In the paper prepared for TFI-WHO, Geneva “Bollywood’: victim or Ally?” The author defines the person of a traditional anti-hero is characterized by two vices – smoking and drinking ( TFI- WHO, Geneva , 2003). This helps the character to identify himself as the antihero and helps him to create an aura of rebellion which appeals and attracts many. Often these antiheros wear they angst in their sleeves and are rebellious. Circumstances make them rebellious. After Amitabh Bachchan many actors have donned the antihero role. Apart from villains certain important social figures form the lead characters in films from time and again. has been a theme and an example in many

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Bollywood films from a long time now. Every time a film made on Gandhi is different from the one made previously. Bollywood literally revives the spirit of Gandhi by showing how irresistibly he continues to haunt India today (Parnjape, 2014). Paranjape in his research paper says that Rajkumar Hirani has not only given the Indian audience the glimpse of ‘‘’’ – a totally new way of doing Gandhi in the world and this is very remarkable. The author feels that Gandhi remains as a media- savvy person even after his death as he was during his life. The author believes that director Rajkumar Hirani’s narrative modes and mimetic styles of representing Gandhi in Lage raho Munna Bhai is unintentionally complementing the reel and real life Gandhi thus having an uncanny symmetry. What the author finds very unique about Gandhi in Lage Raho Munna Bhai is that the film is not about Mahatma’s life at all but it is about his afterlife and the impact he has had on generations of people. Though many have forgotten him time and again there is the need to revive the spirit of Gandhi. This is attempted by Rajkumar Hirani in this film. Gandhi is seen only to Munna in this film. Munna is delusional and reading so much about Gandhi has made Munna think as if Gandhi were alive and he could see and converse with him. But still this film has been able to create an impact and also has been a high grossing film so the author believes that this film should be taken seriously. It is not always that a Gandhi film has such an impact. That a Gandhian film could do so well is thus not just noteworthy, but invites further analysis. It was as if it became India’s answer to Attenborough’s Gandhi, but offered a new way of filming Gandhi in our times, suggested by the neologism it coined, ‘‘Gandhigiri’.’ The film, moreover, inspired copy-cat instances of this method, with several reports of how one of its techniques, sending roses to adversaries, was successfully duplicated in many parts of the world. According to newspaper reports, the film caused a spurt in the sales of books on Gandhi and several schools organized group screenings (Zeeshan, 2006). Summing up its unusually strong impact, Sudha Ramachandran quoting from Outlook magazine, says, “Lage Raho Munna Bhai marks the magnificent, fun filled return of Gandhi to mass consciousness. (Parnjape, 2014)” The author concludes by saying that the film does engage with Gandhian thoughts seriously but cannot be pigeon-holed as a traditionalist or purist exposition either. The film, for the author, portrays a lot of inconsistency towards violence in its scheme of things, repeatedly showing the efficacy of violence and the defeat, at least partial, of 25 non-violence. Instead of fetishizing non-violence, Munna Bhai looks at it as a part of a larger arsenal that needs to be employed to combat social evils and corruption. To that extent, the film take on non - violence is less Gandhian and more in keeping with the traditional Sanatani practices. While the traditional expounds the dictum “ paroma dharma” (truth is the highest dharma), it does not rule out righteous violence altogether, especially, and as a last resort, according to the Mahabharata, when all other recourses have failed. Sanatana dharma, it would seem, espouses the epitome of non- violence even if it is somewhat ambivalent as to its immediacy; Gandhi on the other hand upheld both the immediacy and ultimacy of non-violence. Kavaeree Bamzai in her article ‘When Bhai meets Bapu’ writes that the film celebrates the serious with sentimental cynicism and subaltern style that Munnabhai MBBS became so well known for. (Kaveree, 2006) Dev N Pathak in his research article Cinematic imagination of ‘Multiple Gandhi’ states that Mahatma Gandhi had been a sought after theme/ topic for poplar Hindi cinema from a very long time. He believes Hindi cinema has reduced Gandhi as a mere prop in the film. He believes, “The Popular Hindi cinema, despite the critical issues thereof, renders Gandhi into an embodied, fluid object, available for intellectual as well as emotional engagement. Suffice it to say, the cinematic imagination also aids in making Gandhi an ever fresh and contemporary possibility (Pathak, 2013).”

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Chapter 3 Methodology

3.1 Definition of research

Research is a logical and systematic search for new and useful information on a particular topic. Research has many objectives. The objectives of research depend on the person who is conducting the research and the purpose why the research is being conducted. General objectives of research are as follows:  To discover new facts.  To verify and test important facts.  To analyse an event or process or phenomenon to identify the cause and effect relationship  To develop new scientific tools, concepts and theories to solve and understand scientific and non-scientific problems.  To find solutions to scientific, non-scientific and social problems.  To overcome or solve the problems occurring in everyday life. Research Methodology is a systematic way to solve a problem. It is a scientific and a systematic way of conducting a research. Research methodology can be defined as, “the systematic, theoretical analysis of the methods applied to a field of study (Wikipedia, 2015).” Research methodology comprises of a detailed explanation of the various research methods and procedures the researcher takes up to arrive at conclusions. Research methods are the various procedures schemes an algorithms used in research (Rajasekar, Philominathan, & Chinnathambi). The various methods that the researcher used to conduct his or her research is termed as research methods. Whereas research methodology is the systematic process by which the research methods are implemented. Research methodology consists of theoretical analysis of the various methods and principles associated with a branch of knowledge. Typically, it encompasses concepts such as paradigm, theoretical model, phases and quantitative or qualitative techniques (Wikipedia, 2015).

Research methodology not only involves the description of the various research methods employed but also considers the logic and context behind the methods the researcher is using to conduct the research. It also explains why the researcher has used a particular method or technique A research methodology is beneficial for a researcher in many ways. One of the many benefits for the researcher is that methodology provides the theoretical framework for understanding which method or set of multiple methods or theoretical practices can be applied to conduct the research and arrive at conclusions. Importance of research methodology in research is that it provides the necessary training in choosing methods, materials, scientific tools and training techniques relevant for the problem chosen.

3.2 Research philosophy

A research philosophy is a belief about the way in which data about a phenomenon should be gathered, analysed and used. Epistemology refers to what is known to be true and doxology is what is to be true and these two terms forms the philosophy of the research.

3.3 Types of research methods

Research methods can be understood as those methods/techniques that are used for conduction of research. Research methods can be broadly classified into three groups:  First group includes the methods which are concerned with the collection of data.  The second group includes of statistical techniques which are used for establishing relationships between the data and the unknowns;  The third group consists of methods which are used to evaluate the accuracy of the results obtained. Research can be broadly classified into two types:  Fundamental or basic research  Applied research Fundamental or basic research involves an investigation on basic principles and reasons for occurrence of a particular event or process or phenomenon. This type of research is very theoretical in nature. The results of this research may or may not have

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a immediate use or application; as this type of research is not concerned with solving any practical problems of immediate interest. Fundamental research provides insight into a problem and focuses in providing logical solution to the problem research upon. This type of research helps in coming up and formulating new theories and phenomenon. Applied research on the other hand studies individual or specific cases without the objective to generalize. This type of research involves, solving problems by employing well known and accepted theories and principles. Applied research aims at any variable which makes the desired difference. This research ties to understand and state how things can be changed and correct the facts which are problematic. Basic and applied research can either be qualitative or quantitative or can be a culmination of both methods. Quantitative research is based on measurement of quantity or amount. Qualitative research is concerned with phenomena relating to or involving quality. Qualitative research is especially important in the behavioural sciences where the aim is to discover the underlying motives of human behaviour. Through qualitative research we can analyse various factors which motivate people to behave in a particular manner or which make people like or dislike a particular thing. Qualitative research methodology aims to look at the cause-effect relationship in the research problem.

3.4 Research methods used in this research

The researcher has chosen a set of methods and theories which is most suitable for conducting the research based on the research problem. The researcher employed content analysis method to arrive at conclusions.

3.4.1 Content analysis

Content analysis is a research tool used to determine the presence of certain words or concepts within texts or sets of texts (Writing@CSU, 2004). Content analysis can be applied to examine almost any work of writing or occurrence of recorded communication. Thus, this method is used in fields like marketing media studies, literature, ethnography, cultural studies etc. Content analysis, is also described by B Devi Prasad as the scientific study of content of communication. It is the study of the content with reference of the meanings, contexts and intentions contained in messages (Devi B).

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The application of content analysis is as follows:  To describe the characteristics of the content  To make inferences about the causes of content.  To make inferences about the effect of the content. Content analysis can be used to understand a wide range of themes such as social change, cultural symbols, changing trends etc. Thus, content analysis was used to analyse the content of the films chosen for the research. Many elements of the film were taken into consideration while conducting the analysis. In this research this method was used to categorise different themes, characters and plots in Rajkumar Hirani’s films and to find out how the antagonist character in Rajkumar Hirani’s films provoke social change through creating awareness amongst audience. Parameters for content analysis chosen were based on the dominant social issues depicted in the films. These social issues help to understand the films in a didactic perspective and view the film form just being an entertainer. The social issues which were considered in the study are as follows:  Caste structure  Changing trends in urban India  Class structure  Educational facilities  Lack of facilities provided for different sections of the society  Medical facilities  Myths & blind beliefs  Post-independence situation  Religion  Societal stereotypes  Unemployment

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3.4.2 Comparative analysis

Comparative analysis technique was another method the researcher adopted. The researcher compared different elements in the movie which instigated social change and compared it with another film of the director. This method helps the researcher to generalize the research problem stating that Rajkumar Hirani’s films provoke in creating social change through creating awareness amongst audience. Parameters included for comparative analysis is as follows:  Imposing institutions  Urban societal stereotypes  The thematic patter of Individual Vs Society  Living or creating an utopian society

3.4.3 Theoretical analysis

Theoretical analysis provides a foundation for the research study. Theoretical framework also helps the researcher to substantiate and validate the findings from the content and comparative analysis. This also proves that the findings of the research is valid. This method of analysis helps the researcher to generalise the problem statement and arrive at conclusions. The researcher has employed Didacticism, Albert Bandura’s Social Learning Theory and Cultivation Theory to analyse the films.

3.4.3.1 Didacticism

Didacticism is a philosophy that emphasizes instructional and informative qualities in literature and other types of art (Wikipedia, 2015). The term has an ancient Greek origin – ‘didaktikos’ which is associated with education and teaching, as mentioned in the definition didactic meant both to entertain and educate. From ancient this literary device has been employed in plays, poetry and other forms of art and literature to educate and entertain the masses. Didacticism is used in film medium too, with the same purpose kept in mind. The didactic element in popular commercial cinema may be unintentional by it does unconsciously effect the audience. Historical reference to didacticism suggests that it was used extensively in plays in Europe in the medieval times. The theatrical performance made use of allegorical characters to teach the people a moral lesson. The most common themes that were

31 presented in morality (didactic) plays were commonly known as the seven deadly sins: pride, lust, greed, envy, wrath, sloth and glutton. The theme of the plays emphasized on repentance and redemption which was only possible if a person intentionally gives in to temptation (Didacticism, 2015). The function of didacticism in literature, art or film or any other media is that it offers some extra information to its audience than merely pleasure and entertainment. Though critics believe that didactic elements may reduce the artistic and creative content of any piece of literary or art work by giving life lessons and instructions but nonetheless it gives the audience a chance to improve their cognitive skills and comprehend evils which may lead him astray.

3.4.3.2 Social Learning Theory

Social Learning Theory focuses on the learning that occurs within a social context. Albert Bandura is considered to be the leading proponent of this theory. Albert Bandura in this theory states behaviour is learned from the environment through the process of observational learning. Bandura believes that humans are active information processors and think about the relationship between their behaviour and its consequences. Observational learning could not occur unless cognitive processes were at work (McLeod, 2011). The principles of this theory is as follows:  Humans have the ability to learn by observing the behaviour of others and the outcomes of those behaviours.  Learning can occur without a change in behaviour.  Cognition plays a crucial role in learning.  Social learning theory can be considered a bridge or a transition between behaviourist learning theories and cognitive learning theories. The classic Bobo Doll experiment conducted by Albert Bandura in 1961, showed how people are often reinforced for modelling behaviours of others and also that environmental factors also reinforces modelling. Modelling teaches new behaviour, increases the frequency of previously learned behaviours, may encourage previously forbidden behaviours and increases the frequency of similar behaviours.

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3.4.3.3 Cultivation theory

Cultivation theory states that high frequency viewers of television are more susceptible to media messages and the belief that they are real and valid. This theory was originally stated by G. Gerbner. Research study based on this theory studies media effects on the people who are exposed the particular medium. It is generalized that regular television viewing can have a long-term effect that gradually affect the audience (Davie, 2010). The theory suggests that this cultivation of attitudes is based on attitudes already present in our society and that the media take those attitudes which are already present and re-present them bundled in a different packaging to their audiences. One of the main tenets of the theory is that television and media cultivate the status quo, they do not challenge it. Many times the viewer is unaware the extent to which they absorb media, many times viewing themselves as moderate viewers when, in fact, they are heavy viewers. The theory also states that television and media possess a small but significant influence on the attitudes and beliefs of society about society. Those who absorb more media are those we are more influenced (Davie, 2010)

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Chapter 4 Data Analysis

4.1 Summary of the Films

Summary of the films provides an insight into the films. The summary includes major happenings in the film which is analysed in the following sections.

4.1.1 Munna Bhai M.B.B.S

Figure 1 Munna Bhai film poster

In Munna Bhai M.B.B.S., Murli Prasad Sharma is nicknamed Munna Bhai, a neighbourhood goonda (goon) - an exorcist and a criminal involved in ‘Dadagiri’ in Hindi. Munna’s father Sri Hari Prasad Sharma wanted his son to be a doctor. To fulfil

his father’s wish Munna creates a false enterprise named Sri Hari Prasad Sharma Charitable Hospital – a charitable hospital in the name of his father. This charitable hospital of Munna comes alive brusquely when Sri Hari Prasad Sharma comes to Mumbai to visit his dear and beloved son Munna. On one such visit it to Mumbai, Sri Hari Prasad Sharma happens to meet a very old acquaintance of his. This old acquaintance happens to be Dr.Asthana. The two men are very happy about meeting each other after a very long time. They decide to get Munna marry Dr. Asthana’s only doctor Chinki to marry Munna as decided decades ago when Munna and Chinki were very young children. Munna’s Family go to Dr. Asthana’s residence to plan for the wedding. This is when the truth about Munna’s actual whereabouts and business is revealed to his father. Sri Hari Prasad Sharma learns from Dr. Asthana that Munna is not a doctor but an exorcist and a local goon. Munna’s parents are at aghast and are heartbroken on learning that their son is a goon – a hoodlum and not a physician. They immediately leave for their village humiliated and embarrassed. Munna is also extremely depressed for having put down his parents and shattering their dreams. He decides that the only way to redemption is by enrolling himself into a medical college and obtain a graduate medical degree – M.B.B.S. He wishes to enrol himself into the best medical college in the city – Imperial Institute of Medical Studies and the Dean of this best medical college in the city happens to be Dr. Asthana himself. Munna manages to obtain admission in the college by forcing and threatening a senior doctor to write the entrance exam for him. Munna is hopeless in his studies and fails to understand medical procedures and terms. But he manages to bring life to the hospital and even gives even the dying the will to live through his ministrations. There are various instances in the films which questions the way patients are treated in the hospitals especially in the government run ones. Munna believes that doctors have to be more compassionate and treat patients not merely as sick people but as humans and tires to restore humanity in people. There is also a love drama in the film too. Munna had first met Chinki when he was a very young boy and has memories of her as a young girl. Though he had paid a visit to Dr. Asthana’s house for his wedding proposal he had not met her. The first time he meets Chinki is in the medical college, but she introduces herself to Munna as Dr. Suman. Chinki like her father is a doctor too. She choose to keep her relationship with Dr. Asthana as a secret with Munna. Munna and Chinki meet several times in the 35 medical college and Munna finds himself falling in love with Dr.Suman, every time they have a conversation. Munna is on the verge of being rusticated and many people in the hospital protest against Dean Dr. Asthana’s order. Dr. Asthana challenges Munna to answer a set of questions set by a board of doctors in front of an audience. The board of doctors who were in favour of Munna prepare him with the set of questions so that he wins the challenge and would be allowed to stay in the college. The examination is held and Munna begins to answer the questions and he begins to think about a patient named Zaheer who dies in his arms and he is unable to help him. Munna gets frustrated by his behaviour and accepts the fact that he cannot be doctor and is better of as a goon and leaves the hall. After this heated incident Dr. Asthana feeling accomplished leaves the hall, and he pauses to listen to his daughter Dr. Suman speak. Dr. Suman feels disgusted and false praises him and runs out of the hall. The film ends with Munna reconciling with his parents who are proud of their son who spread the seed humanity, friendship and compassion; though he did not become a doctor. The film ends on a happy note with Munna and Dr. Suman getting married, Dr. Asthana working in Munna’s Charitable Hospital.

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4.1.2 Lage Raho Munna Bhai

Figure 2 Lage Raho Munna Bhai film poster

This is a sequel to the previous movie Munna Bhai M.B.B.S. with the two characters Munna Bhai and his sidekick Circuit. This movie like the previous one employs humour and drama. The film begins with Munna disguised as a taxi driver kidnapping a man. Munna kidnaps this man as he owes a large sum to another person who has asked Munna to help in extortion. The story goes on with Munna sitting on the deck listening to a radio show. Munna is in love with a Radio Jockey – Jhanvi’s voice and never fails to listen to her show. In this scene, Jhanvi is heard announcing that she would conduct a contest featuring the life and beliefs and Mahatma Gandhi set for 2nd , Gandhi , a national holiday celebrating the birth of Mahatma Gandhi. Munna devises a plan to meet Jhanvi. Circuit helps Munna to win the contest by kidnapping and then bribing a group of professors. As the winner of the contest,

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Munna gets the chance to go to the radio station and go live on air while Jhanvi interviews him. Munna introduces himself to Jhanvi as a Professor of History and a Gandhian scholar. Jhanvi afterwards asks Munna if could give a lecture to a group of senior citizens who reside in “Second Innings House” – an old age home, she runs along with her grandfather. Munna does not want to let down Jhanvi and agrees to give a lecture. Left with no choice, Munna decides to go to the library dedicated to the Father of the Nation – Mahatma Gandhi. Munna engages himself in deep intense study of Gandhi, his life, principles and philosophies. Munna becomes so engrossed in studying about the life of “Bapu” (Gandhi is lovingly called Bapu) for three days and nights without sleep, food and water. It is during this period that Bapu appears as an apparition and offers to help and advice Munna. Bapu encourages Munna to tell the truth to Jhanvi that he is not a history professor but a goon. Gandhi appears in front of Munna every time he recites ‘Raghupati Ragahava Raja Ram.’ With Gandhi’s help Munna is able to win over Jhanvi and begins to lead a new life based on ‘’ which gets a makeover name ‘‘Gandhigiri’’. Soon, Munna begins to co-host a show with Jahnvi and Bapu, advising and instructing his audiences to follow the path and ideals of Gandhi in their everyday lives. He spreads his idea of ‘‘Gandhigiri’’ to every listener. Munna believes ‘‘Gandhigiri’’ to be the sole solution for all problems. The film goes on Munna solutions to many and changing their lives. The film has a dramatic subplot too. This involves a deceitful and dishonest businessman named Lucky Singh. He promised as part of dowry for his daughter’s marriage he would also give the groom the Second Innings House – a prime property in a very prime location. Lucky Singh with his dishonest means manages to acquire The Second Innings House and entrusts Circuit to demolish the house. Munna along with Jhanvi and the senior citizens put up a stayagraha and after a lot of drama the house is recovered by Munna. Munna in the movie later, is seen to help Lucky Singh to get his daughter married. It is during the Satyagraha protest that Munna and people of the Second Innings House stage in front of Lucky Singh’s house that Munna reveals about his actual profession to Jahnvi. Jhanvi is taken aback and leaves Munna. But towards the end of the film we see that Lucky Singh’s daughter is happily married off and also gives birth to healthy children and Jhanvi also accepts Munna.

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4.1.3 3 Idiots

Figure 3 3 Idiots film poster

The film begins with three former classmates Raju Rastogi, Farhan Qureshi and Chatur Ramalingam going in search of their other classmate Rancho. Raju and Farhan were never able to meet Rancho after they graduated from Imperial College of Engineering. The course of their search of their best friend ‘Rancho’ they re-live their fun filled past as students at ICE. The three friends had joined ICE for different reasons. Rancho joined ICE for the love for engineering and science, Raju had joined ICE as an engineering degree would land him in a good high paid job and Farhan was in ICE only for his parents who dreamt and wanted his son to be an engineer. Rancho experiences the wrath of the dean Viru Sahastrabuddhe (Virus) due to his unorthodox answers and his philosophy on how the education system should work. Virus the dean is a very strict

39 person and is very meticulous and orthodox too. The ideologies of both clash and often cause arguments in class. Chatur Ramalingam a.k.a ‘Silencer’ is the model student of Virus – Viru Sahastrabuddhe the Dean of ICE. Chatur goes by what is in the books and impresses his professors by his excellent rote recitation. Chatur once gets a chance to present a speech in formal Hindi, despite his limited knowledge and fluency in the language. The librarian offers to help Chatur to draft an excellent speech in formal Hindi to impress the Dean. Rancho and Farhan decide to play a prank on Chatur’s and change few words in the speech which makes the speech very vulgar and obscene. By humiliating Chatur, Rancho demonstrates to Raju how mere rote learning will not help and shows the limitations of blind learning. There is a romantic twist to the story when Rancho falls in love with Virus’s younger daughter Pia. Pia is engaged to a money-mad NRI- Suhas and Rancho is horrified. He demonstrates to Pia that her fiancé only cares about money and expensive things. The three friends play tricks and tantrums, mostly in tit-for-tat reactive revenge for some action of Virus. One day when the three friends are completely drunk and Rancho dares Farhan to post his photos to this wildlife photographer he wants to inter with and dares Raju to stop being so superstitious and coward. The two friends dare Rancho to express his love he has for Pia. The friends all drunk break open into the Dean’s house, Rancho tells Pia’s sister how much he love Pia instead of telling her. Farhan and Raju defecate in front of the Dean’s gate. Virus sees Raju and the next day he calls Raju to his office. Virus tells Raju to type a letter to his parents informing them about his termination from college. Raju pleads to stay, and Virus concedes that he stay provided that he modifies the expulsion letter to expel Rancho instead. Conflicted between his family and friends, Raju attempts to commit suicide by jumping from the window. He is rushed to hospital and due to his injuries he can hear people but cannot respond or move his body. Raju later recovers and realises that he has always been afraid in life and decides to attend his job interview with a new mind- set and attitude. Rancho convinces Farhan to go and tell his parents how much he likes wildlife photography and that he wants to pursue a career in the same field and not engineering.

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His father finally understands his son’s passion and decides to support him with all he needs to go for the internship. Fearing that Raju will not get the job he really needs to support his family, Rancho and Farhan steal the questions; however, they are caught and sentenced to expulsion. Pia later tells her father - Virus that she was the one who gave the keys to the idiots. In a heated argument that Pia has with her father she blurts out that he was responsible for her brother’s death too. Pia storms out of the house in utter disgust. Pia’s sister Mona who was pregnant gets sudden labour pains and had to be rushed to the hospital. Due to heavy rains the entire city is flooded and no ambulance was able to reach their house. Virus decides to take his daughter to the hospital himself but the heavy rains and flooded streets makes him not able to take her to the hospital. Rancho and his friends rush Mona into the college common room where they conduct the delivery of the baby via Voice over IP to Pia. The baby does not cry and is assumed to be a still born, everyone get devastated. Rancho however, revives it by using his signature quote "All is well" and the apparently dead baby responds and wakes. In gratitude, Virus allows the trio to take their final exams. Rancho attains the top rank in the institution and is awarded Virus's prize pen, retained for an especially-capable student. The story comes back to present when they get to know that their friend Rancho who they studied with wasn’t the Rancho who they meet. They get to know that their friend was the servant’s son in Chanchad mansion and the original Rancho had taken credit of everything he did. Raju and Farhan get to know where their friend is residing and head to Ladakh. During the search, Raju and Farhan pick up Pia from the middle of her wedding. They come to a school where supposedly their friend Rancho teaches. They see inventions resembling those that Rancho would create. Accompanying them is Chatur, who has managed to freeload onto Raju and Farhan over the course of their journey. The four find the man behind the distinctive inventions, who turns out to be the Rancho who they studied with. When they ask him to reveal his real name, he identifies himself as Phunsukh Wangdu, Chatur's prospective business partner and a world-famous, reclusive scientist. Upon learning this, Chatur is horrified and begs Phunsukh/Rancho to establish the business relationship – just after he had forced Phunsukh to sign a declaration of defeat and attempted to humiliate him, apparently to no effect. 41

The film ends with Chatur chasing Rancho and his friends and this scene resembles the philosophy of Rancho that "Excellence ke pichhe bhaago, kaamyaabi jhag maar ke pichhe aayegi" (Hirani, 3 Idiots, 2009). The film aims to comically mock the current education system and practices. It also points at certain social settings, class structure etc, which hinder the development of the society.

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4.1.4 PK

Figure 4 PK film poster

An alien in a human form lands on the earth naked on a research mission in Rajasthan. A thief steals his remote which is only way to connect to his spaceship and is stranded on earth. In his search for his remote he encounters many incidents which forms the plot of the story. On the same day that the alien lands on earth; in Bruges, Jaggu meets a man named Sarfaraz. Sarfaraz is a Pakistani. They both fall in love and even plan to marry. When they seek their parents’ consent, Jaggu’s dad objects the relationship. Jaggu’s dad believes everything that Tapasvi Maharaj says and Tapasvi Maharaj predicts that Sarfaraz would leave her and go away. To prove that wrong, Jaggu decides to get married. At the wedding chapel Jaggu is waiting for Sarfaraz, while she is waiting for him a boy gives her a letter in which says the marriage is called off due to differences. She returns to India and becomes a television reporter.

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When Jaggu is travelling around the city in search of a news item, finds the alien sitting on a seat in the metro station and is giving out pamphlets saying ‘God is missing.’ Jaggu tires talking to her but he ignores her. After multiple attempts, Jaggu manages to get to know the alien’s story and how he tries to fit in as a human. Jaggu learns that he is called Pk (in Hindi means drunk, he was called so because of his behaviour which made many people think he was drunk) by people. He tells her how he manages to learn Bhojpuri and that he came to Delhi in search of his remote. When PK is told by a lot of people that only God can help him to get his remote back. He begins hunting for God. In his search he encounters the Tapasvi Maharaj with the remote and tries to get it from him. Tapasvi falsely claims to have attained the object from God in the Himalayas and refuses to return it to PK. After hearing PK's story, Jaggu devises a plan to expose Tapasvi and recover PK's remote. PK is shocked and remarks that the Tapasvi and the other Godmen are dialling a ‘wrong number’ and that is the reason why people’s prayers are not being answered by God properly. Jaggu encourages her channel viewers to take videos of their own experiences with Godmen. After massive public appeals the Tapasvi is forced to come and be a part for of a live show and confront PK. Tapasvi claims he has a direct connection to God and refers to his prediction of Sarfaraz's betrayal as proof. But, PK, who had absorbed Jaggu's memories, discovers that Sarfaraz did not write the letter she received. Jaggu contacts the Pakistan Embassy in Belgium where Sarfaraz worked part-time. The embassy tells her that Sarfaraz still loves her and calls them daily to inquire whether she has called. Jaggu and Sarfaraz reconnect and Tapasvi, exposed as a fraud, is forced to return PK's device.

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4.2. Analysis of the films Table 2 The film name, year of release, thematic patterns and issues depicted in the film

Name of the Year of Film Prominent Issues depicted in the film release genre thematic film patterns

Munna 2003 Comedy Individual Vs. Medical facilities Bhai Drama Society Class structure M.B.B.S Caste structure Good Vs. Evil Lack of facilities provided for different sections of the society Stereotypes

Lage Raho 2006 Comedy Individual Vs. Post-independence Munna Society condition Drama Bhai Class structure

Romance Stereotypes Changing trends in urban India

3 Idiots 200 Comedy Individual Vs. Educational facilities Drama Society Unemployment Class structure Changing trends in urban India Stereotypes

PK 2014 Comedy Individual Vs. Religion Society Myths & blind beliefs Drama Class structure Romance Stereotypes

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Table 3 Languages used in the films and the catchphrases

Film name Language used Catchphrase

Munna Bhai Hindi, Local ‘Tapori’ Hindi, with a little of Marathi Jaado ki M.B.B.S and English Jhappi

Lage Raho Munna Hindi, local Tapori Hindi and English ‘Gandhigiri’ Bhai

3 Idiots Hindi, English All izz well

PK Hindi, Bhojpuri, English, Urdu Wrong number

Didacticism happens to be the core pattern which is being endorsed through cinematic engagement in the present Indian scenario. Munna Bhai M.B.B.S narrates an interesting story of the protagonist – Munna Bhai – the local goon. Munna Bhai goes to medical school to fulfil his father’s dream of seeing his son being a doctor. Munna’s father wished for his son to be a very famous and successful doctor. But in reality Murali Prasad Sharma was an exorcist, criminal and goon of the Mumbai Underworld. Every time his father came to Mumbai, faux Sri Hari Prasad Sharma Charitable Hospital would come to life. But on one such visit when Munna’s father meets his old acquaintance Dr. Asthana, the faux gets revealed and shattered and humiliated Sri Hari Prasad Sharma leaves Mumbai. Later on we seen in the movie that Munna gains admission through cheating into Imperial Institute of Medical Sciences where he encounters Dr. Asthana again. Munna Bhai’s skills as a doctor is greatly trifling. He transforms the whole atmosphere of the college with his intimate and magical hug- ‘Jadoo ki Jhappi’ Unable to learn medical methods of treatment Munna employs the method of comfort – the Jadoo ki Jhappi taught by his mother. His approach towards those people who are in need for help and assistance is through compassion, magical hug and brotherhood.

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Figure 5 Jadoo ki jhappi

Even after the Medical School laying emphasis on the obtusely mechanical, Cartesian, impersonal, often bureaucratic relationships between the doctors and the patients Munna overcomes every odds in the life.

Figure 6 Munna and Circuit playing carom in an attempt to encourage the old man to live and attract his attention towards playing

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Figure 7 Munna using his unconventional methods for encouraging a boy to quit the idea of committing suicide repeatedly

The above two screenshots of the film shows us that Munna Bhai employs unconventional methods of treatment. Like for instance, in the first screenshot we can see a boy has been admitted in the hospital after consuming a lot of sleeping pills in an attempt to commit suicide. Munna after getting to know from his mother that this was the second time that he tried to commit suicide; Munna through song and dance narrates his failed love story of his own tries to change the boy’s mind and encourages him to face rejections and live a successful life for the woman – his mother who loves him dearly and not a girl who rejected his proposal. Another instance is when Dr. Rustom’s father gives up on living by not eating and drinking. Munna decides to play carom board with Circuit in front of the old man. They begin passing loud comments on every strike taken by each of them and this awakens the patients sleeping in the ward and also Dr. Rustom’s father. Dr. Rustom’s father gets up, he walks towards the carom table takes the striker and wins the queen. Though this is very dramatic and unimaginable it worked for Munna and the old man gave up on the idea of dying. He went on to live for a long time as shown in the movie. Though Munna’s methods were pretty unconventional and had no medical basis it did wonders.

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The omnipresent thematic pattern of Individual Vs Society is very evident in the film. Here, in this film Munna is the individual who is against the archaic society of doctors. Munna goes against the conventional medical norms and uses his own method of engaging with the patients. He reorders the personal relations between the patient and doctor by being more empathetic in a hostile and dis-compassionate hospital. His approach is almost very holistic and he defies all the medical conventions and practices by successfully treating a brain-dead man called Anand. Munna’s first encounter with Anand was when he is being introduced as a ‘subject’ for study in class. The Professor treats Anand as a mere experimental rat to teach. He does not acknowledge Anand to be human being at all. Munna gets agitated and shouts at the professor for his inhumane approach. Munna interacts with Anand as he was able to understand and see just like he would converse with a normal man.

Figure 8 Munna gets agitated by the inhumane way of treating Anand

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Figure 9 Munna Conversing with Anand Bhai as if he was a normal person

Figure 10 Munna circling around Anand Bhai in the garden

The above screenshots show this aspect more clearly. Later on towards the end of this film we see Anand regaining his consciousness and speaking and talking just like a normal person would. Later we see that he is the one narrating the whole story of the film. But it is interesting to see that Munna maintained autocratic terms with the patients, humiliates school bullies, very kind and courteous towards janitors and various people working in the hospital and also encouraged the patients to make changes in

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their personal lives, so that they do not need medicines or any medical treatments for cure. Munna Bhai in the movie critiques the medical profession. He questions the strict academic almost imperialistic regime employed by doctors to treat patients. He feels the need for non-academic more liberal and humanistic approach towards treatment of patients in the hospital. Munna through is acts of kindness and the magical hug is almost providing a comic relief in the lives of patients. Through various instances in the film, Munna shows how the medical profession has turned out to be more lucrative for private doctors and that a government doctor duly does not get his credit. Munna Bhai targets the lucrative money-making exploitative condition of the medical profession where the needs and the expectations seem to be merely for personal gain and upliftment and forgot the Hippocratic Oath they took to serve people. Unlike the society of doctors, Munna is the only individual in the medical school who is able to relate to the patients and understand and respect the value for life. Ultimately he wins over and his holistic approach receives its due credit. Dr. Asthana the strict imperialistic Dean of Imperial Institute for Medical Studies too follows Munna’s holistic methods. Dr. Asthana is seen approaching his patients in a friendlier manner and also prioritizing treatment over formalities. The film Lage Raho Munna Bhai, the sequel to Munna Bhai M.B.B.S is constructed as a social game where the character of Gandhi is used to enact and effect a social preference. What is similar in the two films is that the two characters Munna Bhai and his sidekick Circuit still are in both the films with similar character profile. However the film does not have any connection whatsoever to Munna Bhai M.B.B.S. The film offered the audience a moral breakthrough in public life with a whole new version of ‘Gandhism’ which came to be known as ‘Gandhigiri’. It is important to know and understand the Gandhi in Lage Raho Munna Bhai. The Gandhi that Munna is able to see in the film is not someone who is distant, archaic but some with whom we the contemporary masses can relate with. With cameo appearances by Gandhi, he once again became popular among all ages and cultures in India and puts an end to a very long period of time where he was almost forgotten. Munna Bhai transforms in a short span of time from a small time Mumbai underworld goon to a present day Gandhian. It all began with Gandhi as a subject of

51 study for Munna Bhai and Gandhi ended up being the object of obsession for Munna. The screenshot shows the first encounter of Munna with ‘Bapu’.

Figure 11 The first time Munna encounters with the apparition of Mahatma Gandhi

The film also makes use of ‘‘Gandhigiri’’ – term which came to be used the very first time. This whole phenomena of ‘‘Gandhigiri’’ resonated well amongst a wide range of audience pan India and worldwide. This element of ‘‘Gandhigiri’’ was very instrumental in achieving success for Munna, i.e. winning the heart of his love and also ensuring that Second Innings House is restored back to its rightful owners. Munna hosts a radio show with Jhanvi the lead actress of the film and providing suggestions based on the Gandhian values and principles. In the film there is an instance too when he convinces Lucky Singh a deceitful dishonest businessman from grabbing an old age home located in a prime area through his act of Satyagraha – an act of non- violence.

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Figure 12 Munna hosting a radio show with Bapu

Munna Bhai in the film is seen to converse with an apparition of Gandhi, seeking some kind of support, comfort, relief and most importantly guidance. Those around Munna Bhai find him to be crazy and hallucinating (which is very true). Lage Raho Munna Bhai is considered to be a popular cult film of this time and the director of the film has made use of this element of popular culture to once again revive moral and ethical values. Lage Raho Munna Bhai unlike various films that have been made on Gandhi, focuses on the afterlife of Gandhi. How well people of the present remember Gandhi and resonate with the ideals of Gandhi. An instance in the film where Munna Bhai is asking Circuit about Gandhi, Circuit responds saying that Gandhi’s face is printed on the currency notes , October 2nd is a dry day, he thinks that Gandhi’s children are Indira and Rajiv Gandhi. Cricuit also knows that Gandhi played an instrumental role getting the British to leave India and that to walk on the ideals of Mahatma Gandhi means to walk on M.G. Road (Mahatma Gandhi Road) every day. Though some amount of drama and exaggeration is employed in the film to depict the fact that modern India have almost forgotten Gandhi’s existence. This film like the previous film is not that overtly didactic, but a story is spun around the fact that people remember very little about Mahatma Gandhi, his ideals and in the process talks about Gandhi and his ideals which are necessary for every person.

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Figure 13 Munna Bhai and the old people staging satyagraha protest in front of Lucky Signh’s House

Through the course of the film we can see the transformation in Munna from a goon to a neo Gandhian, standing up against Lucky Singh not with arms but with non- violence. Munna is shown to practice what he preaches very similar to Gandhi himself. The above picture is a screenshot of Munna and the people of Second Innings House staging a protest in front of Luck Singh’s House to get back their house which rightfully belongs to them. Munna’s transformation is not from gangster to decent bourgeois, law-abiding citizen; but it is from a violent thug to a viable satyagrahi, who also questions and struggles against bourgeois complacency and reaction. It is this demonstration of the viability of satyagraha in contemporary India that gives the film its more serious underpinning. Gandhism vs. ‘Gandhigiri’ is actually doxa vs. praxis, therefore going to the very heart of the Gandhian project. An instance when Munna is lecturing a group of elderly people in Second Innings House, an inmate of the house asks him how he could teach young children at the park a lesson who were tampering with the statue of Gandhi. As a solution to this, the apparition of Gandhi tells Munna to encourage people to demolish all Gandhi’s statues, removing his image from currency, erasing his names from buildings and urges everyone to keep his name in each an everyone’s hearts.

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Figure 14 Munna & Bapu at the Second Innings House to give a guest lecture on Gandhi

Instances very similar to the above stated ones, can be seen throughout the film and also shows how Gandhian efforts in non-violence and truth force can still help transform the situation, if applied diligently, sincerely—and with good humour. If nothing else, the film shows how the afterlife of Gandhi still continues to influence and correct our conduct in contemporary India. The film also looks at the societal structure which is corrupt at almost every level and they are incapable of serving the needs of the common man and fail to allow the poor and the weaker sections of the society to exercise their rights and live with dignity. Lucky Singh is seen to be very exploitative, crude and dishonest. Gandhi in a way becomes an antidote, a way of countering some of the worst ills that plague India today. He thus becomes the means of not just critiquing post-colonial India but of improving it. The whole apparition – ghost like persona of Gandhi suggests the fact that he never can be laid to rest. Though he dies his ideas remain forever. The subplots of the film include instances of people come across everyday like the in the restaurant where a boy meets a girl. The boy is a prospective groom for the girl. The girl is not sure if he is the right life partner for her. She is very sceptical. She calls up on the show Munna is hosting and asks Munna to help her out. Munna with the help of Bapu provides a smart solution for this problem. Munna says in order to find out if the boy is well-mannered and well-behaved just observe how he treats his sub-ordinates and people who are economically and socially weaker than him. The girl meets the boy at a restaurant. Like a gentleman he makes sure that the girl is comfortably seated and asks what she would like to eat. The boy is about to place 55 their order and instead of raising his hand up to call the waiter or saying ‘waiter’ he says “choo…choo” ( which is a very derogatory way of calling out to a person.) The boy‘s gesture to call a waiter at the restaurant was very crude and ill- mannered. Due to his crude behaviour the girl leaves the boy and the restaurant immediately.

Figure 15 A young man calling out to a waiter at restaurant by saying choochoo

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Figure 16 A man with a smile on his face cleans the spit of his neighbour on his door

Another anecdote is of a man who constantly spat on his neighbour’s door every day. Bapu gives Munna a simple solution to this. Munna asks the man to clean the man’s spit every day and eventually he will learn a lesson not to spit. This solution too works out and the man learns a lesson of not spitting on his neighbour’s door. In another scene of the film wherein an old man who was able to receive his pension follows Munna and Bapu’s suggestion to give the clerk all he had with him… the old man strips off his clothes, he gives aw-ay his hearing aid etc. and with every item he takes off he tells how much it costs. He bribes the clerk in such a way that he gets embarrassed and humiliated that he ends up passing the old man’s pension file. Below is the screenshot of this instance.

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Figure 17 An old man giving away all his belongings to the officer to get his pension file passed The clerk out of sheer embarrassment signs the old man’s pension files and moves the file for further procedures. We have many times heard of or witnessed these kind of incidents wherein old people and disabled people are made to run from one end to another for getting small files passed. These government officials and clerks act ignorant or wait for hefty bribes to be given to them to pass the files. Most of out of no choice people give up and choose to give up on what is rightfully theirs. These are some of the instances that we come across every day. But most of them either go unnoticed or we don’t pay heed to them. Either we use force and power to get control of the situation or we keep mum about it. Through humble ways of ‘Gandhigiri’ Munna gives simple and hassle free solutions to these problems. The act towards bringing about a change is simple yet very impactful. These issues dealt in the film are innate to contemporary Indian culture. Instances in the film helps us to relate well with relationships which are almost on the verge of be broken, changing socio-political developments, historical revisionism, gender differences, corruption, choice in marriage and other issues, terrorism , educational issues. Here, once again Mahatma Gandhi becomes the locus of bringing about a change – a solution to these new urban problems. With a strong reflective and retrospective gaze the film makes people to look into themselves for solutions rather that outside.

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The same old Gandhian principles and philosophies are repackaged with an attractive label – ‘Gandhigiri’ which resonated well with the audience. The concept and the word ‘Gandhigiri’ suffused well with a familiar everyday used term – ‘Dadagiri.’ ‘Gandhigiri’ can be considered as the binary of ‘Dadagiri.’ Through this film it is portrayed how Gandhian philosophy can be related to contemporary sociocultural reality space. Gandhi merely appears as an apparition, is only visible to Munna – a goon, gangster, counselling him on how to help others and deal with everyday problems. The film focuses on contemporary Gandhi and debating about the difficulties for overcoming the bafflement of Social Change and the use of Gandhi –style protests as a reliable way to achieve change. To conclude the analysis of the film it is interesting to throw upon the light on the fact that the original title for this movie was taught to be ‘Munnabhai Meets Mahatma Gandhi’. This would have been chosen as the title probably referring to that fact that Gandhi was called Bhai in Africa. The only difference between Gandhi and Munna Bhai is that Gandhi uses moral power and Munna Bhai uses muscle strength. The imminent theme of didacticism and meaningful cinema can be seen in 3 Idiots just like the previous movies analysed. This film leads us towards understanding the creation of an exemplary citizen and the State’s attitude towards education and similar services, and to extent provides a broad perspective on the politics involved in the creation of this exemplary citizen. The film depicts how the human battle for mere existence starts with conception of the child. The kid opens his eyes on the planet to see the desires drifting according to his guardians who want their children to become an Engineer, Doctor, IAS officer, etc. and keep up the family name. The movie begins with Raju and Farhan in search of their friend Rancho whom they did not meet after graduating from Imperial College of Engineering. The college portrays itself to be an elite institution modelled on the lines of IIT. This says it all that only the crème de la crème are eligible to study in the prestigious institution. There was an instance in the film when the Dean tells that his own son wrote the entrance exam thrice and failed miserably all the three attempts. The film alternates from the present to the past. The film starts off with a challenge Chatur Ramalingam would have had put across a decade ago against the 3 Idiots – Rancho, Raju and Farhan. 59

Figure 18 Virus giving an example for "life is a rat race" and people have to work hard Virus like the conventional professor is a taskmaster who believed in competitions and that life is a rat race and dog eats dog and that one needs to run behind success and not the other way round. Virus uses the example the bird Koyel which lays eggs in another bird’s nest and once the eggs hatch the bird pushes away the other eggs and cuts competition. But Rancho proved Virus wrong every semester acing the class and Chatur landing in the second position. Most parts of the film highlights the fact that higher education and education in India largely focuses mainly on competition. Though elements of fantasy and drama has been employed in the film largely to narrate the story, but the main theme of depicting the societal condition, blind beliefs and structure is effectively portrayed. The lives of the three protagonists provide a deeper understanding on the societal structure and the educational scenario weaved around. Raju Rastogi who comes from a extremely poor middle class family with a paralysed father and a school teacher mother who earns bare minimum. Farhan Qureshi who is more affluent than Raju lives in a modest house. Lastly, Rancho who is depicted to be from a wealthy family. The family structure of the three protagonist depicts the typical social structure prevailing in India. Keeping in Mind Rancho’s actual roots, from the film it can be inferred that anyone can become inventors irrespective of their family roots and economic condition

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Figure 19 Farhan and Raju's households

The film talks about the flawed means employed and in turn makes the system look flawed, taking the example of rote learning and the effects of rote learning in many instances. The film director put forth so many real life instances which makes one wonder if rote learning and bookish, blind learning is beneficial. To begin with the very first mechanics class the Professor asks for a definition for machine. To which Rancho responds saying: “A machine is anything that reduces human effort.” The professor is not happy with this definition and asks for a ‘proper’ analytical definition which is given in the book. In present world when application of theoretical knowledge is given importance, the professor was still laying emphasis on bookish definition and expected the students to mug up definitions and answer in class. This method of teaching and learning will hinder innovative and creative thinking. This is very ironical; as a premier engineering institution laying emphasis on merely bookish knowledge. This poses a great threat to the development of the gen next. A premier institution is resorting to impart knowledge using traditional archaic methods which will obviously hinder development. The second instance is of Chatur Ramalingam who was given the task of giving a speech on the occasion of Teacher’s Day. In order to impress the Dean, Chatur decides to deliver a speech in Hindi. Chatur being an NRI does not know how to read or write in Hindi. With the help of a Librarian he manages to draft an excellent speech which he

61 does not understand. To demonstrate to Raju that merely reading and mugging up stuff is not beneficial, and one must be passionate about what he or she is learning. Rancho changes a few words in the speech that changed the whole meaning.

Figure 20 Rancho changes a few words in Chatur's speech which makes the speech derogatory and alters the meaning of it

Figure 21 Virus screaming at Chatur for his derogatory speech

The movie points out at the pressure students’ face due to current methods of teaching practiced. An instance of the film depicts this issue and touches the hearts of the audience. Lobo a final year student who was unable to work on his final project has is father was severely ill and was unable to come in terms with his father’s sickness for a while. It took Lobo sometime to recover from the shock. But the dean was so

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insensitive to this issue and directly called Lobo’s parents and told them that their son would not be graduating this year and they need not book tickets to come to ICE. Lobo unable to bear the shock and not having enough courage to face his parents he hangs himself in his dorm.

Figure 22 Lobo giving up his life due to pressure and fear of failure

Prior to the scene a very catchy song; Give me some sunshine is played which is almost like an anthem for every student. This song from the film was so impactful and created waves. The film also looks at stereotypes on the professions that a person takes up. Parental pressure is also a matter of concern in this film. For instance Virus though being highly educated declares that every male child in his family to be an engineer and a female child to take up medicine as a profession. His own son who wanted to study Humanities was not allowed to do so. The condition was pretty similar in Farhan’s house too. As soon as Farhan was born his father declared that he will become an engineer. The screenshot from the film depicts it. Farhan aspired to become a wildlife photographer which was not encouraged.

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Figure 23 Farhan's parents deciding what he would take up as his profession once he grows up

It’s probably just minutes after Farhan’s birth and he has just been placed in a cradle for his family to see him for the first time and his fate is decided. His family decides that he is destined to be an Engineer. Since then Farhan’s upbringing is such that will help him secure a B.Tech degree from a prestigious institution. Farhan’s likes and passions are all side-lined and not given much importance. His hobby of photography is almost ignored by his father and considered to a waste of time and career not worth pursuing. Farhan is left with no choices and all the choices for him are made by his parents. This is pretty much the most prevalent scenario in a typical middle – class household in India; which Hirani has captured through the life of Farhan in the film. Situations in the film show how at times parents tend to become highly ignorant and have high expectations from their child and they want their children to shine the brightest. The stereotypical notion that my son should be smarter that Kapoor aunty’s son is highly prevalent in the society still. This is creating a lot of mental pressure and leading to a lot of psychological disorders and eventually to suicide. At the same time the film also shows that is is out of sheer concern that parents have very high expectations out of their children. But in reality it is very harsh. The director through this film looks at trivial social beliefs which they believe provides a respectable society. Certain assumptions that only certain degree his reputable and other are not is questioned in this film. The importance of grades over

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skills is still prevalent in modern Indian society. But this film attempts to break these misconceptions and bring about a societal change. Though this movie has a lot of comic elements the film does not detract from the motive of sending out a serious message. The catchphrase ‘all izz well’ caught on well with the audience so much so that it became a common lingo for a really long time. All izz well was a phrase which Rancho used time and again uses in the film to reaffirmation that everything is alright and instil hope and give courage to finish the task. The movie in the ends proves Rancho’s philosophy : “Kamyabi ke piche mat bhaag, kabil ban, kamiyabi jhak marke tere piche aayegi. (Hirani, 3 Idiots, 2009)” The dialogue translates to Don’t run after success, be capable and success will come running after you. PK the latest directorial venture of Rajkumar Hirani. This film deciphers religion, beliefs and myths associated to religion through an outsider’s perspective. Rajkumar Hirani in this film uses an ‘alien’ character to criticize and challenge the existing notions. The usage of an alien – who is literally an alien to the ways and practices of the film, entertains the audience by his comic encounters and at the same time sends out a message in a subconscious level. PK is almost childlike in the film just like what Jaggu says in the very end of the film- “ Jaise bachche is duniya mein aate hain nage vaise who bhi aaaya tha. Jaise bachche bahut sawaal poohte hai, vaise who bhi bauht se sawaal poochta tha. Aur phir ek din… chala gaya… (Hirani, 2015)”

In this dialogue Jaggu tries to relate PK to a child who tries to understand the ways of the world. What is different between a child and PK is that a child usually has a companion to teach him/ her about the ways of the world, God, religion and other aspects which help the child to understand people and their beliefs. But PK is on his own, he has to learn for himself. For example in figure 24 we see that PK who is new to Earth, is not exposed to the dressing style of men and women on Earth. In this clipping of the film PK is seen wearing a blazer and shirt of a man and a skirt/ lehenga which is worn by women. He is being ridiculed in this scene by the public because of his attire. It is through this

65 comical incident that PK realises that men and women have different dresses. PK says – “Thoda time lage samjhema ki aadmi ka fashion alag aur ladies ka phashion alag. Din ka phashion ala gaur raat ka fashion alag. Khelne ka fashion alag aur khilane ka fashion alag (Hirani, 2015).”

Figure 24 PK wearing both men and women attire not knowing the difference

His various encounters in understanding God and religion is dramatic and is entertaining. But his encounters also raises important and right questions. PK who is new to the concept of religion and offerings that people give to God unintentionally and unknowingly creates some serious blunders which in real life had he committed would cost him his life. PK is seen taking a Pooja Thali to the Church and wine to a Mosque. PK is confused about the various religious practices and customs of the people. He is unable to understand how humans who are all same by race follow have varied customs. He is confused to see that a person of one custom is not encouraged by the people of another custom. He gets confused by religious symbols too. In an instance in the movie when he sees a depressed woman dressed in white (widow) tries to hold her hand to know why she looked so depressed, passengers on the bus trash him for his cheap behaviour and throw him out of the bus. He then sees a young woman beautifully dressed in a white wedding gown and he naively says, I feel sorry that your husband is no more. The young woman gets paranoid and her friends beat him saying that her fiancé is very much alive. In Christian custom the bride wears white and in

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tradition a woman wears white when she is a widow. Not knowing this, PK lands into trouble. Through his comical encounters he gets to know that everybody on this planet follow different religions and have different places of worship. A person of one faith will go to his faith’s place of worship and not anywhere else. After realising this he was confused so as to which religion he belonged to, whether there is an indication a person gets and which he is not aware of.

Figure 25 PK running away from the Sikhs

Figure 26 PK escaping by being beaten up by Hindu holy people

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Figure 27 PK escaping thrashings from Muslim women

Figure 28 PK running away from Christian priests

Hirani subtly looks upon religion which has been an issue from a long time in India and is rarely touched upon by filmmakers. This is simply because how fragile and sensitive the topic is. In a country like India, with the number of religion equal to the number of people. India has an history of fights based on religion, an example being the Babri Masjid massacre. Rajkumar Hirani has employed humour and Drama in his film to address this issue.

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Hirani’s subtle treatment of this sensitive issue amused the mass audience and at the same time made them think about the present scenario where on the name of religion millions of people are killed. Here the director is not very preachy nor is he very forceful about his take on religion. He put forth the scenario and lets the audience to decide what they want to take from it. Therefore, it is best to use an alien who has no religion and new to the existing stereotypes to question them and contest them to. This is because the alien is regraded to be more neutral and would reason out the practices than simply believing them. This film however does not deny the existence of God, but it shows that for PK God is a belief that gives a sense of hope and courage but anything beyond this is a faux created by humans to suit their needs. The film also dealt with the concept of blind faith and belief in Godmen. Keeping in mind the elements of popular cinema mentioned earlier, this film addresses the social stigma and beliefs that people abide by in modern Indian society. In the film it shown that Jaggu’s father is a blind believer of Tapasvi ji – who is like a culminated figure of the numerous Godmen in the country. We can see to how much extent that Jaggu’s father follows Tapasvi ji that almost everything had the Godman’s photo on it.

Figure 29 A photograph of Tapasviji on Jaggu's blanket

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Figure 30 A screenshot of Tapasviji's picture on a mug

Analysing the next screenshot which talks about blind belief and myths that is running in our veins like blood. Jaggu says that Tapasvi Ji had given her father a ‘ GodBox’ which had a God designated for every occasion. In the screenshot below it is seen that Jaggu’s father is on a treadmill and has the idol of Lord Hanuman. Lord Hanuman is associated with might and strength. Jaggu’s father believes that the idol of Lord Hanuman will keep him fit and will give strength. When he was investing his shares he would show Goddess his laptop screen and pray that he would reap good profits.

Figure 31 Jaggu's Father praying to Lord Hanuman while on the treadmill

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Figure 32 Screenshot of e-darshan that Tapasviji offers for his devotees for a price

Figure 33 Screenshot of Tapasviji's website offering different types of prashad based on the devotee's preference

The above two screenshots show how technology has been incorporated to get in touch with God. Owing to presnet day busy lifstyle and not able to go to the temple of place of worship. As a means to make money and make God come closer to you many temples across India have begun offering e-Darshan services to its devotees. Just one click will land a person with God’s blessings. The film mocks at how God has been technolgicalized and the whole process of praying to God has been ridiculded with e-darshan, e-seva and e-prashad.

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The depiction of the concept of blind faith and Godmen, invited the wrath of many religious groups and several protests. Screening of the film was disturbed in several places, posters were burnt and protests were held. Stereotypical thoughts about people was also an element depicted in the popular film PK. When Jaggu’s parents get to know that she is dating and the boy is a Pakistani – Muslim they are taken aback. Her mother asks her if she is in her senses to have fallen in love with a Muslim. She asks her if she would wear a burqa and read Namaaz. Tapasviji without seeing Sarfaraz, he labels him to be a cheat and a good for nothing person just because he is Pakistani. The film breaks this stereotype and Jaggu and Sarfaraz unite with each other in the end. Lastly, the film PK discusses how a little investment for the sake of religion can reap amazing benefits. PK demonstrates to Jaggu’s father how people in the name of God are making money with really small demonstration outside a college where an exam is being held. He compares his little investment of few coins and a crimson line on a piece of rock is enough for a queue of people to worship the piece of rock. Like sheep people blindly follow the previous person. PK also shows to Jaggu’s father that a lot people are blindly following Godmen and making them rich but not connecting the devotees with God. A person’s blind faith is a boon for the Godman as he is able to cash on the devotee’s blind belief.

Figure 34: PK demonstrating to Jaggu;s father that running a temple involves minimum investment and guaranteed huge profits

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All these incidents happen in real life. Fake Godmen, rocks at every corner of the street is turned into God, unimaginable and impossible tasks like going up to some remote place in the Himalayas so that a dying person will get cured or feeding a cow everyday will help a person land up in his dream job.

Figure 35 An instance of 'wrong number' being reported on TV by various people

All these ridiculous myths and blind beliefs is very thought - provoking, and these notable incidents in the film is sure to emerge questions in the psyches of the huge number of audience for a considerable length of time to come, hence it is classed to be dubious. The above screenshot of the film is of person in the film reporting on a “wrong number.” Wrong number was the catchphrase used by Rajkumar Hirani to attract the audience. This catchphrase like the previous catchphrases he made use of in his films helped in creating hype and made people think what ‘ wrong number’ was all about Lastly, it is about how normal people need to comprehend and translate the 'wrong from the right numbers.

4.3 Comparative analysis

In order to get a better understanding of the films and also understand the director’s work better a comparative analysis of certain elements was also conducted. The following elements from the film were looked upon:

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4.2.1 Imposing institutions

Imperial Institute of Medical Studies (Munna Bhai M.B.B.S), Imperial College of Engineering (3 Idiots) and Tapasvi’s Ashram (PK); the word ‘imperial’ is suggestive of a sovereign empire. The institutions have the supreme authority with one ruling person who is almost like the emperor. Imperial Institute of Medical Studies (Munna Bhai M.B.B.S), Imperial College of Engineering (3 Idiots) - these two institutions in both the films are premier educational institutions imparting knowledge and training young students to have a successful career ahead. Here the word ‘imperial’ would denote the best, crème- de-la- crème and something which is prestigious. The films also show that only worthy students who clear the extremely difficult entrance test get admission into the college. A negative connotation can also be attached by naming educational institutions by “Imperial.” Like for instance it could mean that the institution is very imposing, orthodox and archaic in nature, keeping in mind the elements of imperialism. The word ‘imperial’ is synonymous with imposing, lordly, regal, majestic, authoritative and monarchic. Thus it is very apt name for an institution of this kind. These institutions in the movie are imposing in every way. They are very strict, archaic, and stern. The deans of the institutions are very stubborn and rule bound.

4.2.2 Urban societal stereotypes

The films all have an urban and suburban setting. The issues dealt with in the films are primarily urban middle class problems. The films largely focus on middle- class mentality and how most of the practices and beliefs are baseless in this modern world. Though urban India is considered to be highly modern and tolerant, it is ironic to see that this class of Indians are the most intolerant people in the Indian society. This can be seen in the class division in Lage Raho Munna Bhai, PK. Apart from this the treatment given to people of different class and caste in the urban society can be seen in all the films. Urban Indians are shown to be ignorant and very insensitive.

4.3.3 The thematic pattern of – ‘Individual Vs. Society”

All the films revolve around one individual – the Hero who is slightly different form the rest of the crowd and has a challenge of adapting to the society. There is one strong lead character who is against the prevalent social myths and stereotypes and in the end succeeds in bringing about a change in the society. From Munna to PK all the

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lead roles inspire audience to bring about a change in oneself. The lead individual fights against the society’s blind beliefs, stereotypes and myths.

4.3.4 Living in an or creating an Utopian Society

Though every film deals with different sections of the society, but overall the films moves towards the creation of the ideal society where everything is fair and just. In Munna Bhai M.B.B.S, Munna is trying to modify the impersonal and detached way of treating patients. He wants doctors to use compassion and be more emotional. He feels emotion and personal care will help heal a person faster. In Lage Raho Munna Bhai, the urban city is shown to have lost ethics and values in the process of developing. Munna revives the Gandhian philosophies and gives it a catchy phrase ‘Gandhigiri’. In 3 Idiots the film focuses the educational system and looks in reviving certain aspects of it. In PK, the film focuses on the religious system. In contemporary world it is shown that religion and blind beliefs have no place and these beliefs and hinders progress.

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Chapter 5 Findings & Conclusions

5.1 Summary of the results

The research has been a very enriching experience for the resercher and has come to very interesting conclusions about the popular films directed by Rajkumar Hirani and link them to certain theoritcal framework and discources.

5.2 Discussion of the results

Theoritical framework provides a better understanding to the findings and also prove the findings and arrive at desired conclusions. Popular cinema is a mirror to the society, it presents popular issues and behaviour patterns helping in people to understand the positive and the negatives in the society. Popular cinema putforths elements and themes which the audience are pretty familiar with. These films create the atmosphere of déjà vu and unitentionally and unconsciously creates a psychological impact.

5.2.1 Conclusions based on didacticism

Various elements of popular films can be described using didacticism. According to this literary device, literature art and any form of media makes offers much more than just enetertainment. The films chosen for this study too are didactic in nature. Munna Bhai M.B.B.S, Lage Raho Munna Bahi, 3 Idiots and PK are all popular films with a social issue as the central theme. They are undoubtedly comedy films, the films manages to blend in well - thought provoking revelations’ and sends across subtle messages which later makes one wonder. In medieval Europe didactic plays were used to speak about the seven deadly sins. The themes of the medieval plays laid emphasis on repentance and redemption and modern day popular cinema being discussed in this study too looked at bringing about a change and changing one’s actions for self-betterment and the betterment of the society. The character of Munna is the classic example of repentance and redemption, in both Munna Bhai films. Taking the example of the first film we see that Munna a

goon, indulged in extortion and is also a Mumbai underworld don. He lies to his parents that he is a doctor and every time his parents come to visit him he creates an faux Charitable Hospitable under his father’s name and pretends to run the hospital. He was lying and misleading and also his way of life was very negative. Once when his parents get to know of his actual profession he feels ashamed of his deeds and feels terribly low of having put down his parents and being the cause for their humiliation. Only by joining a medical school and pursuing a career in medicine will help him to redeem himself from the burden of causing so much of pain to his parents. Later the movie ends with a new transformed version of Munna who though has not got a medical degree but surely has changed as a person. Similar transformation from practicing Dadagiri to practicing ‘Gandhigiri’ in Lage Raho Munna Bhai is seen. This movie which was well accepted by the mass audience had an impact on real life too. This film proved to a true popular didactic film of the modern times. Lage Raho Munna Bhai with its revamped contemporary avatar of Mahatma Gandhi is commendable. This film locked the mouths of all the critics who believed that didactic element in a film would reduce the creative content of any artistic piece. This movie unlike the countless number of films made on Gandhi was very different. Never was Gandhi been used as a spirit or as an apparition. Films on Gandhi were mainly historic and captured the Gandhi who lived and the Gandhi who fought for the freedom of India. There was never a movie until Lage Raho Munna Bhai which portrayed a Gandhi – after his death. The Gandhi figure that the present generation knows and would relate to. This popular film with a figure of Gandhi after his death was used to teach the archaic Gandhian principles and philosophies in a way that would attract the audience. The romantic encounters between Munna and Jhanvi helped to keep up the entertainment and also Circuit’s witty dialogues made the audience have a good laugh too. To balance off this entertainment factor which is innate for a didactic film the conversations of Bapu with Munna and in the process giving out life lessons helped this movie to be very successful. In 3 Idiots, the didactic element is on the face with almost real situations and giving solutions to the problem which are not over the top or highly dramatic. This movie was well received by the audience and had the catchy phrase ‘all izz well’ and the iconic song ‘give me some sunshine.’ 77

The dramatic elements which were creatively woven amidst all the ‘gyan’ was the romance between Rancho and Pia and the climax of the plot which shocked the entire audience was that the person studying at ICE was not really an impersonation of Rancho and Raju and Farhan’s friend Rancho was another person. Typical Bollywood elements of love, drama and revenge added on to making the film a successful entertainer. While viewing PK as a didactic film, the character PK an alien whose locket to connect to his world is stolen. In the process of retrieving his gadget, the various encounters and conversations with a number people helps him to learn a lot of things and questions a lot of things too. PK an alien in every sense is naïve in his approach and is the most suitable person to question the beliefs of the society and the numerous religious practices and ways of life. Being an alien to the society he is mocked at for his ignorance which would not be the same in the case of an insider. PK resembles a European didactic play. Just like how plays with good amount of education was used to instil good Christian values in the people, PK in contemporary India makes the people conduct a self-check and see how biased they are. And also ponder upon how in the name of religion people end up looting and killing millions of innocent people. Religion being a very sensitive and heated up issue in India Rajkumar Hirani has creatively worked his way out and provided entertainment and education – both at the same time.

5.2.2 Conclusions based on Social Learning Theory

Social learning is the end process of a didactic engagement. Albert Bandura’s Social learning theory states that it is behaviour is which majorly learnt through the process of observing the environment around us. Film is an excellent tool for modelling one’s behaviour. This because there is the presence of a ubiquitous theme upon which the film revolves around. Several instances in the film reinforce this theme and it subconsciously hits the viewer’s mind and a new behaviour is learnt. All the study films which considered for study were didactic in nature thus there were elements in the film which had to be learnt. Though the films never had a direct impact on the people and there was no immediate behaviour change but over a period

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of time the visual s of the people make people engage themselves in a cognitive encounter with themselves eventually learning a new behaviour. This is the simple way how songs and iconic dialogues and costumes are copied by the audience. Phrases like ‘Jadoo ki jhappi’ and ‘All izz well’ became a common lingo and even if one had not watched the film used these phrases in their everyday conversations. Therefore, it can be concluded that social learning theory is very applicable to understand how didactic films are perceived and provides a theoretical grounding to the interpretations made.

5.2.3 Conclusions based on Cultivation Theory

Lastly, the researcher uses cultivation theory to understand the absorption of didactic information in films. The theory states that high frequency viewers of television are more susceptible to media messages and the belief that they are real and valid. Though this theory was made on the basis of the findings of a study on watching television but it is very much applicable in understanding what is taken from viewing films. As mentioned earlier popular cinema and the films studied in this research portray a number of every day issues known to everyone but in a manner which is very subtle, and subconscious. In the films Munna Bhai M.B.B.S, Lage Raho Munna Bhai, 3 Idiots and in PK the director has creatively woven certain seeds which later when pondered upon will instigate a behavioural change. All the four films chosen for study are all comedy and commercially successful movies. The viewers of these films are unaware to an extent to which they absorb the media. The theory also suggest that television and media possess a small but significant influence on the attitudes and beliefs of society about society. Those who absorb more media are those who are more influenced (Davie, 2010). Therefore the films Munna Bhai M.B.B.S, Lage Raho Munna Bhai, 3 Idiots and PK; all do contain some amount of material which can influence on the attitudes and beliefs of the society about the society. This can be stated because all the films are didactic in nature and do address social issues and society. Many instances portrayed in the film which can result in behavioural change but it depends on how much of the content is taken by the viewer.

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5.3 Limitations of the study

The researcher faced several constraints while conducting the research. These constraints would be necessary and helpful for conducting future research on the topic similar to this research. Few limitations are as follows:  Time was a major constraint while conducting the research.  This being a qualitative research and time being a major constraint the researcher had to limit the parameters chosen to conduct the research.  An audience perception and response was not considered for the research and merely the films were analysed for its didactic content.

5.4 Suggestions for further research

 For further research audience perception can be analysed.  Both quantitative and qualitative data can be analysed.  A comparison of other films of other directors which are didactic can be studied.

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