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Title: Bollywood Film Reviews Author: Kate Xavier: Santa Sabina College, Strathfield Area of Study: Popular Culture (Genre: Bollywood) Focus study Students are to examine ONE popular culture that conforms to the distinguishing characteristics and has a global acceptance by examining: • the creation and development of the popular culture: − the origins of the popular culture − the development of the popular culture from a local to a global level − the process of commodification for the popular culture − the role of mythology in the creation and perpetuation of the popular culture − continuities and changes to the popular culture • the consumption of the popular culture: − the consumers of the popular culture and the nature of its consumption − the relationship of heroes and mythology to media and consumption − how globalisation and technologies have influenced consumption − the relationship of access and consumption to age, class, ethnicity, gender, location, sexuality − how consumption and ownership of paraphernalia influence a sense of identity • the control of the popular culture: − the ownership of the popular culture and the tensions between consumers and producers − the stakeholders and how they influence the popular culture – family, peer groups, media, marketers, governments, global groups − the role and impact of official and unofficial censorship − the influence of power and authority at the micro, meso and macro levels • the different perceptions of the popular culture: − groups that accept and reject the popular culture − changing perceptions and the value of the popular culture to groups in society − how the popular culture constructs or deconstructs gender Contemporary context • Uses examples drawn from contemporary society Syllabus Outcomes H2 explains the development of personal, social and cultural identity H3 analyses relationships and interactions within and between social and cultural groups Teacher rationale: When studying Bollywood as a Popular Culture, it is essential to draw from a range of contemporary examples enhance your response. This article aims to provide an overview of some of the major films released in 2016 and explore them in relation to some of the more ‘tricky’ syllabus dot points including the control of popular culture, the role of heroes and mythology and the ways in which the popular culture constructs and deconstructs gender roles. Ae dil hai mushkil This film, set in the UK, traces the unrequited love of Ayan and Alizeh. Although Ayan is madly in love in Alizeh, she views their relationship as strictly platonic, referring to Ayan as her best friend. The film explores the interesting dynamic of platonic friendship between the sexes and unrequited love. Ayan is constantly hoping his friendship with Alizeh will turn into something more whereas Alizeh has been stung by love and sees her friendship with Ayan as a means to attaining ‘peace’. This film is geared towards a young and increasingly mobile and affluent audience. The setting is very contemporary, with scenes set in London, Paris, Austria and India and we see the film veer away from many traditional Indian norms. For example, the two friends travel to Paris together, partying at nightclubs, drinking alcohol and sharing a single hotel room. There is even a dig at Bollywood itself; with the friends re-enacting Bollywood dance sequences for fun in the snow covered Austrian Alps. Dance sequences must find a way into the film as they remain one of the fundamental characteristics of Bollywood film and this film includes them in such an integrated way, seamlessly blending them into the storyline. Although there are obvious references to the two characters families, we never really encounter them. Even as Alizeh returns to India to marry Ali in a traditional Muslim ceremony, she asks Ayan to be present at the ceremony to represent her side of the family after her parents refuse to accept the marriage. This gives us some indication that Alizeh’s ‘love marriage’ has not met the approval of her family and has caused a discord between them. Here the tension between the ‘love marriage’ and more traditional expectation that one’s family is to be involved in the process of discerning ones marriage partner (either through arranged marriage or otherwise) is very evident. The film also picks up on a popular theme in western film and entertainment, that friendship is becoming the ‘new’ family for many. Perhaps this is in reaction to an increasingly global and mobile audience, many of whom are living abroad for work and study. This therefore makes a good example to use when thinking about the how the popular culture expresses contemporary social values. Ayan’s relationship with the poet Saba is also a complex one. Saba is divorced (although still on good terms with her ex-husband) and her relationship with Ayan is clearly an intimate one. It is interesting that Saba been played by Aishwaria Rai, the former Miss World and wife of fellow actor Abishek Bachchan, son of Bollywood royalty Amitabh Bachchan (Big B). Rai is a married mother yet plays a sensual and independent woman in this film. This fact alone points to change in terms of the casting of actors in Bollywood films. Bollywood tabloids and fan pages on social media were teaming with articles hinting that the Bachchan family were unimpressed with Rai taking on this role. However at an appearance at the 22nd Kolkata International Film Festival, Big B was quoted as stating that the Character of Saba “turned the tables on men”. This quote is significant as it a public acknowledgement one of Bollywood’s greatest heroes support of this film and the role in which his daughter-in-law plays. When examining the relationship of heroes and mythology to media and consumption, this is an excellent point to consider. Clearly heroes like Big B, who was not even a cast member of this film and the mythology surrounding him, can lead to a film’s success, acceptance by the audience and perhaps inspire a society to question and deconstruct the traditional norms, gender roles and values of a society. This film also links well to the control or the Popular Culture. The film casts Pakistani actor Fawah Khan as Ali and this hasn’t been without controversy. In September 2016, in the town of Uri, on Indian security forces was attacked by four heavily armed terrorists in Kashmir. After the Uri attacks in Kashmir, The Hindustani Times reported that the radical Indian political party Maharashtra Navnirman Sena (MNS) called for a ban on Pakistani actors and threatened to stall the release of Ae Dil Hai Mushkil to multiplex cinemas. Adding to the commotion after the Uri attacks, the MNS party leader Raj Thackeray issued an ultimatum to Pakistani actors including Fawad Khan, Mahira Khan, Rahat Fateh Ali Khan, and Ali Zafar to leave India within 48 hours. This film highlights the political nature of Bollywood, with politicians attempting to control the release of films and encouraging the deportation of actors as a means of sending a political message to India’s geopolitical neighbours. This is an excellent example of both the role and impact of official and unofficial censorship along with the influence of power and authority at a macro level. This case study would be an excellent example to explore further in your own research and study. Junooniyat This romantic film traces the story of Indian Army Captain Jahan Bakshi and Punjabi student Suhani as they meet in an army-restricted area in Kashmere. As their love story develops, Suhani lies to her father and takes a trip away with Jahan. When her father eventually finds out about the trip, he is angered by her deceit and subsequently confiscates her mobile phone and puts restrictions on her movements even forbidding Suhani to attend college. The story sees the lovers separate, as Suhani’s father forbids her to marry an army man. The rest of the story sees twist after twist (and dance sequence after dance sequence!) until Suhani becomes engaged to a Canadian and fate eventually brings Jahan to the wedding. This story is fairly traditional in many ways. It has overarching themes of love, friendship, family honour and national pride. The concept of the traditional Indian value of honouring family is very strong in this movie, as Suhani chooses not to elope with Jahan in order to respect Father and family. It is interesting to note that the Father has the supreme power in this house, seemingly because he is the main breadwinner in the family. Although Suhani’s grandparents live with the family and are free to have an opinion on the matter, it is Suhani’s Father who is the decision maker. This is reinforced when he confiscates Suhani’s phone as a consequence of her dishonesty and restricts her movements to prevent her from seeing Jahan. In saying that, Suhani’s father has given his daughter many freedoms, allowing her to travel away from home on college camps and excursions and has encouraged her education and independence. This film very much reflects contemporary Indian values as family is still of paramount importance in the society and culture. Suhani, with her college education and willingness to stray from the traditional expectations of her as a woman, remains obedient to her family’s wishes as she chooses not to elope with Jahan. Interestingly, Jahan too waits for approval from Suhani’s father before proposing to her at the end of the film, highlighting that that there is still value and merit in the traditional ways in which a parents blessing is sought in marriage. This film also has strong political undertones, which also provides a good link to the macro world. Jahan as an army Captain epitomises the ideal Indian citizen and this is really emphasized in this film.

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