Title: 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 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 , , 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. He is loyal to the Indian army and his main focus is always to serve this country. Interestingly, Jahan is based in the Kashmir province of India where terror threats and violent extremism, usually from Pakistani rebels are common. There is definitely a sense of nationalism present in this movie, highlighting how Bollywood as a popular culture expresses contemporary social values of nationalism and national pride. It also affirms the power and authority of the Indian government as represented by the Army and the film very much implies that all citizens should show respect and loyalty to it, just like Jahan.

Ki and Ka

This 2016 film was touted as one of 2016’s most unexpected Bollywood hits. It traces the unconventional relationship of Kia and Kabir, with Kabir the stay at home husband and Kia the highly driven and ambitious career woman. The irony is of course that Kabir is the son of a billionaire Indian property developer who has shunned his Father’s wealth, instead choosing to become homemaker or in his words, an ‘artist’.

This film is really enjoyable and worth viewing. You will come across many instances of westernisation and modernisation within this film. For example, when Kia and Kabir meet, they head straight to the bar to enjoy a scotch and later in the film Kia favours Italian pasta over Indian cuisine. It is quite humorous when Kia introduces Kabir to her mother who asks the pair if they have had sexual intercourse yet insisting that one should ‘try before they buy’! Although these little examples are not necessarily indicative of huge change in Indian society, they are certainly challenging the traditional norms of society, particularly as they relate to marriage and sexuality.

The marriage or Shaadi scene in the movie is also very interesting as depicts a mix of modern and traditional elements. The civil ceremony takes place at the registry office with just Kia, Kabir and her mother as a witness. In a traditional Hindu wedding, a mangala sutra, usually an elaborate gold necklace is given to the bride to wear as a sacred symbol of the marriage union and goodwill between the couple. In Ki and Ka, Kabir is about to adorn Kia with his Mothers mangala sutra when she proceeds to tie it around his neck, much to the surprise of the marriage registrar. The couple proceeds to feed each other the traditional Indian sweets as is customary in Indian weddings. There is no traditional wedding sari, celebration or banquet to follow in this no-nonsense shaadi! The couple goes on to live with Kai and her mother in their home.

This film reflects contemporary societal values to some extent. The importance of marriage and family is still very much emphasised in this film, as even in the civil ceremony, traditional elements are obvious. Throughout the film, Kabir shows a great respect for his Mother in law, supporting her when she is sick and ensuring her meals are all prepared. Traditionally this expectation falls on the bride, but in this movie, Kabir meets this expectation and its continued relevance and importance to contemporary Indian society is really emphasised in the storyline.

The scenes set in are also very interesting. Kai and Kabir’s argument reflects the tension between the modern and traditional roles of women, particularly in the scene where Kia socializes and networks with her male colleagues, making Kabir obviously uncomfortable. However, as the film develops we see Kabir challenge the stereotypes of the traditional male role. He cooks, cleans and looks after Kia’s Mother. When finances are tough, he becomes an entrepreneur, training ‘stay at home wives’ in the gym and motivating them to adopt healthier lifestyles. Eventually through a successful media interview with Kia, Kabir finds his own success, appearing on TV chat shows, making public appearances and interviews. In fact his success becomes so great that he is invited to the home of Amitah Bachan at the request of this wife Jaya who shows a great interest in Kabir and his modern take on gender roles. This is very humorous scene as Amitabah Bachan (playing himself) is obviously annoyed at this young man who is clearly winning the hearts of women all over the country. This scene is a great link to the role of mythology in the popular culture. By Jaya and Amitabh Bachman playing themselves in the film and showing great interest in the couple, the film provides a springboard for discussions about traditional gender roles and women holding positions of power and authority in the workplace.

Finally, there are many examples of continuity in this film. Despite their modern lifestyles and switched gender roles, the couple still maintains many traditional cultural practices. Kia’s widowed mother is still cared for by the couple in their home, traditional and fresh cooked meals are enjoyed by the family daily and commitment to marriage and family are very much emphasised by the film. The film ends with an obligatory dance scene where the traditional gender roles of men and woman are reversed and celebrated.

Conclusion:

In many ways, Bollywood as a Popular Culture has sustained many of the elements we have come to expect of its films. Marriage, Love and Family continue to remain important themes explored within the films and of course the singing and dancing are very much remain important devices of the films. However westernisation is having an impact with films increasingly exploring gender roles, characters becoming increasingly mobile living, working and travelling around the world and the idea of nationalism being weaved back into some recent films.