Barrier Breaking Women in Indian Cinema Final Script.Pdf

Barrier-Breaking Women in Indian Cinema

Introduction: Just like every other national cinema, India’s film industry has seen many changes in its representation of women since the early 20th century. Keeping in mind that India is the second most populous country in the world, as well as the country with the largest number of films produced every year, it’s easy to see why complex, non-stereotypical portrayals of women in Indian films are so important. Women in India have recognized this importance for decades. In 1954, more than 13,000 Indian women signed a petition demanding better representation in cinemas for the sake of their children. Politician Lilavati Munshi acknowledged the power of cinema stating, “Films are the greatest weapon which can make or mar the future generation.” While it’s clear that these efforts led to progress, that progress can also be difficult to define today. There are many more opportunities for women in Indian cinema compared to 100, 50, or even 20 years ago, but many issues of onscreen inequality still remain. Let’s go on a journey through women’s empowerment in Indian cinema.

1913: Raja Harishchandra 1913’s Raja Harishchandra is believed to be the very first feature film produced in India, and only fragments of it can still be viewed today. This silent film, based on historical legend and including Hindu religious figures, centers around King Harishchandra: an Indian ruler who sacrifices his family and his kingdom to retain his personal integrity. Director and producer Dadasaheb Phalke reportedly found no women who were willing to perform in a film at this time; many people thought exhibiting footage of women on-screen betrayed the cultural value of “feminine modesty.” As a result, all of the female roles in this film are performed by men.

The film’s huge box office success actually inspired many women to pursue film acting as a career --though it would be a few years before female actresses were no longer taboo.

1929: A Throw of Dice A Throw of Dice, a film well regarded for its extravagant production design and over the top visuals, helped pave the way for women in Indian cinema. The film’s depiction of its female protagonist was revolutionary in the fact that it provided autonomy and independence to a woman in a feature film. Indian cinema in 1929 was lacking in the ability to tell honest and accurate stories about women, and they were oftentimes displayed as incapable individuals or objects of desire. A Throw of Dice was ultimately Bavarian filmmaker Franz Olsten’s interpretation of the ancient Sanskrit epic Mahabharata, and his work helped to fill the gap of misrepresentation. Mahabharata, although ancient, managed to depict women from an angle that in modern times could be viewed as feministic. It begs the question, if one of the earliest pieces of literature could accurately portray women, then why couldn’t 1920s cinema?

1957: Mother India Mother India (1957), directed by Indian pioneer director MehbookKhan and produced ten years after India’s declaration of independence from British rule, was a commercial block buster that immediately attained iconic status following its release. The title, “Mother India”, was chosen as a rebuke to American author Katherine Mayo’s 1927 novel of the same name, and the book’s denigration of Indian culture. Radha, the protagonist in Mother India, was played by Nargis, one of the greatest actresses in the history of Indian cinema. Nargis' outstanding performance in this groundbreaking film won her the prestigious Filmfare Award for Best Actress.

Co-star Sunile Dutt, who played Radha’s bandit son, was credited with saving Nargis' life during a fire on the set of Mother India. The couple married in 1958 and had three children, one of whom is the award-winning actor and producer, Sanjay Dutt. A heroic mother-figure long-suffering from gender and class oppression, the film character of Radha was particularly relatable to female audiences who shared her experience. Radha is initially a submissive daughter-in-law and wife who transforms herself for the good of her children and village after her husband abandons his family. When forced to kill her bandit son to protect another woman’s honor, Radha’s sacrifice is characterized as an act of solidarity committed for the good of Indian womanhood. Radha’s heroic transformation as “Mother India” was meant to be symbolic of India’s evolution as a nascent independent nation prior to 1957. Solidarity of Indian womanhood as a theme in Bombay cinema, however, would rarely be addressed in the coming years.

1996: Fire Brilliantly directed by Deepa Mehta, Fire is groundbreaking as one of the first Indian films to showcase the LBGTQ community. The story begins with two women who are in loveless marriages. They begin as friends but after a while they find comfort in each other’s company. The two friends begin a romantic relationship, finding each other in a time when they both needed strength and, most of all, respect. Obstacles arise that make it hard for the two women to be with each other; if anyone were to find out, they would be kicked out on the streets by their husbands and become a disgrace to their community. This film shows courage, bravery, companionship, and the right for anyone to pursue whom they want to love.

2006: The Namesake The Namesake, released in 2006, was directed by Mira Nair and produced by Indian, American, and Japanese studios. This film depicts the struggles of first-generation immigrants from India to the United States with their American-born children. This film is set in New York City and shows a comparison of the cultures of The United States and India; it speaks to the experiences of Indians living abroad and the hardships of diaspora. Although the two cultures are very different, this film can bring audiences together, evoking emotions that everyone can relate to. Many women worked on the creation of this film, once again highlighting that women are just as capable of great storytelling as men.

2017: Village Rockstars Perhaps one of the most intriguing qualities of Rima Das’ Village Rockstars is that it critiques poverty without falling into the stereotypical assumptions of poverty porn, and that it critiques gender roles without being preachy. 10-year-old Dhunu lives in a village with her widowed mother and older brother. Her father died during a flood which is a regular yearly occurrence in Assam, India. Dhunu dreams of owning a real guitar and forming a rock band with her brother and all-boys friends. But for the time being, she endearingly makes-do with a styrofoam guitar. Maggie Lee says in her review for Variety, "By focusing on tween characters, the picture evokes that freewheeling stage when gender roles are still blurry in the friendships between boys and girls. Then [. . .] Dhunu’s first period arrives. The rituals held to initiate her into womanhood — making her wear a sari, segregating her from the boys —are seen as attempts to enforce her otherness." But Dhunu’s defiance evokes empowerment, determination, and hope.

Conclusion: There is plenty of evidence that representation for women in Indian cinema has a long way to go. Inequality is still common in the scripts and plots of some of the most popular Bollywood films: female characters have less onscreen time and are restricted to stereotypical professions, while male characters speak more often and are rewarded for problematic behaviors. However, while Indian filmmakers continue to tackle those issues, it is vital that we take the time to look back on the progress made over the last 100 years and appreciate the improvements that make today’s efforts possible.