Sensitizing Gender Parity in Urban India: a Cinematic Revolution

International Journal of Advancements in Research & Technology, Volume 3, Issue 6, June-2014 91 ISSN 2278-7763

Sensitizing Gender Parity in Urban India: A Cinematic Revolution.

Rashmi Condra

Abstract:

This paper analyze the role of working women in urban society and their representation in Indian Cinema. This includes formation of equal space, her sartorial style, patriarchal marginalization, dealing with male chauvinism and call for change as projected in Indian cinema. An attempt will be also be made to understand representation of Urban working Woman and her dynamics in contemporary Cinema and whether the celluloid woman has made considerable progress towards realizing the motto, ‘the freedom to choose, and the right to excel’ like most of her ‘real’ life counterpart.

IJOART

Sensitizing Gender Parity in Urban India: A Cinematic Revolution.

Rashmi Condra Assistant Professor RTM Nagpur University.

Social milieu in Modern India and Indian Cinema:

Gender concern has always remained a core issue of social evolution in every period known. India sustainably going through the process of modernizing could not evade ‘change’ and ‘outlook’ towards sections that was emancipating. As cities developed so went up the standard of living vis-à-vis continuous efforts to maintain it. Women were equally required to shoulder this economic burden and as a consequence nexus between man-woman relationship changed. This transition was very rapid and changed the social rules for maintaining harmony. Families became nuclear and with it emerged new challenges. Cinemas in India did reflect this transformation but mainly dealt in focusing on inequity than on social balances.

Right from its inception films have dealt with the changes in the society and have consistently tried to project the evolution of modern Indian society. Technically, considering the broad definition of Urbanization, Cinema can be termed as one of the tools for gauging modernization of Indian society1. Interestingly, the development in Cinema and socio- political environmental changes in the Indian society have always been parallel, making it a reflexive epitome.IJOART In pre- independence period, the struggle under the banner of Indian National Congress was imbued with a socio-economic outlook. Ironically, it was born of the stimulus provided by the Merchant Imperialism. The longer lasting colonists started schools in their own languages to which were admitted children of Indians willing to welcome the foreign culture. The better off among them were encouraged to send their wards abroad for higher education. Returning home with foreign degrees, these young minds formed a nucleus of “Westernized” elite. They had new ideas. There was a consensus that a sweeping change was needed, not just in the ways of thinking and living but also in the institutional frame of socio-religious structures that has become either obsolete, or fossilized. These were prominently the Modernist school of thoughts that was trying to bring awareness and change in social thinking.

The gifts of modern technology that came as ‘the blessing’ of Merchant Imperialism yielded fruits sooner than expected. The restructuring process began on lines of past reformist tradition. Receptivity to this new phase of reformation was rightly called the modernization of India. This was however, slow, reticent and in many ways, dependent on legislative

1 Researches in Cinema therefore derives its significance as an analyst and presentator of Indian social culture.

intervention. The orthodox segment resisted change rather stiffly. The British East India Company effectively altered the Indian economy, society and governance.

The Company Bahadurs introduced new secular education system open to all. The language imparted opened a window to the outside world. With it also came in Modern Indian literature, theatre, performing arts and Mass Media. The most prominent among these in Mass Media was Cinema. Films, in totality create awareness and an impact on the audience because of moving images than incorporated with sound. The effect was magical! An unintended change began to happen over a period of time. A cinema ghar2 became a secular holistic place, where ideas got rooted into the subconscious mind with a relating effect. It had no limitations of ‘literacy’, and so could reach to larger section of the society.

The social issues primarily addressed and kept on agenda were, better deal for women, elimination of gender discrimination, prohibition of child marriage, Sati, Devdasi system of temple prostitution, prevention of alcoholism, promotion of literacy, especially female and adult literacy, removal of Untouchability, eradication of evils such as superstition and process of urbanisation. It was a period of Renaissance in Maharashtra and prime hub of film industry was Pune and Mumbai. Several leaders of the Congress party were also active on the social reform front, foremost being Bal Gangadhar Tilak3. For the leaders of the time, freedom had no meaning without socio-economic reform and cultural regeneration of India. This was followed by rural reconstruction programme effectively adopted and implemented by Mahatma Gandhi. A social ‘new deal’ was coming into existence.

Theatres and Cinema undertook task to broadcast these messages with Pune and Mumbai as its main centreIJOART. The birth of the multicentre, multi lingual film setup in itself was a major achievement of Swadeshi, for nothing like it has happened in any other European colony. There began a new wave of urbanization.

The agenda was bringing awareness among the Indian masses, the consciousness for existing social problems and possible ways to resolve them. Films dealing with these themes did not have to fear the Censorship, except where political symbolism or intent was discernible. Featuring social issues was rather encouraged as it was considered ‘white man’s burden’ to emancipate the Orientals. To a certain extent the pre-independence reformist films were indeed regarded an agent of change.

Considerably woman in films remained a central character and the ‘new woman’ was now shown liberated, expressive and emancipated. This was particularly true for the projection of modern, urban woman character. Notably, most of the yesteryears heroines came from Anglo-Indian lineage and they brought with them westernized customs which further

2 Cinema House. 3 Bal Gangdhar Tilak did make use of conventional mass mediums such as Kirtans, Theatre, platforms during celebration of Sarvajanik Ganesh Utsav and Shivaji Jayanti to bring about Public awareness on political and social issues.

became a trend. Showcasing of movies would happen mainly in urban centers and so most of the female characters projected urban traits, so that audience relate to the character. These films received positive response due to the ongoing change of urbanization in India and its adaptation by western educated Indian minds. Though, many female characterizations were mythic or bucolic they still were played by elite class woman, fair skinned and who had upper class grooming. This with certainty reflected in their on-screen imagery.

Figure 1 Nadia- a face of Urbanisation in Indian Cinema , Devika Rani in Nirmala smoking a Cigarette, Shanta Apte enjoying a high tea, an advocate of liberalism and modernization.

Accordingly, many researches and articles are written on women in Indian Cinema, and this paper will particularly discuss on projection of urban working woman in Indian Cinema4.

Urban working woman in Indian Cinema:

It was important for cinema to begin dealing with the dilemmas confronting the modern working woman in the hostile urban environment. With socio-economic circumstance compelling moreIJOART and more women to share and shoulder the burden of supporting the family, the film world could hardly neglect this aspect. Curiously, however, few directors took up the issue as their theme. Though films like Typist Girl, Telephone Girls and Educated Wife were made in the 1920s, the following decades have not yielded a crop to keep pace. College Girl and Indira M A in 1934, Nurse and Lady Doctor in the mid-1940s, and Dr. Vidya in 1964 attempted to depict educated and working women, but they are generally seen as 5 lukewarm efforts .

As former Censorship Director and activist Sharmila Tagore states, ‘Another example of popular stereotyping is seen in the near-complete absence of working women in our mainstream cinema. In this aspect too, the 1950s—with films like Awara, Shri 420, Kaagaz Ke Phool appear progressive vis-à-vis what followed. Even in the films of Hrishikesh Mukherjee, who made such women-centric films as Anupama, Anuradha, Guddi and Khoobsurat, women seldom ventured out to work, barring of course Abhimaan which was a critique of male chauvinism. It can be argued that in

4 Author support her statements with selected film illustration for further understanding. 5 Sai Paranjpe, “She” and the silver screen, Himal South Asian magazine, November 2005.

the 1960s and 1970s, when Hrishikesh Mukherjee made his films, although we had a powerful woman prime minister at the time, women rarely went out to work’6.

Working woman in cities was shown mainly burdened, victimized, and seldom enjoying equal status as a bread winner. The inability of man to earn due to medical reasoning, sudden demise, psychological problems or immaturity would force her to take up the responsibility to work but not because she ‘want’ to work or ‘is capable’ to work. The culmination would mostly be her victimization and later been taken under the wings of a man. There was hardly any sign shown of her liberation, her wish fulfillments, opinion giver or participation in decision making. She replaced man ‘only’ for the economic need whereas other factors remaining the same. One can site few examples here of classic V. Shantaram’s Teen Batti Char Rasta, Mrinal Sen’s Meghe Dhaka Tara, Tapasya and so on.

A woman’s Ghar ki dehliz paar karna7 was considered taboo and so taking up a job would be avant-garde. Surprisingly, this projection was for urban woman. The best dilemma and apt progression of working woman character can be seen in Satyajit Ray’s Mahanagar. The Director has superbly depicted her change from typical Bengali housewife to that of the bread winner to support family at par with her husband. The day of her first salary when she smell her earned notes, her sartorial style change, change of attitude of the family and her husband’s ego are beautifully pictured. The film defines gender equality, her enhanced decision making capacity and a commentary on urban problems. The protagonist make an optimistic note in the end, “this is A Big City one of us will certainly find a job”. The climax speaks volumes about the urbanization and fast adaptationIJOART of people to adjust with speedy metro life.

Figure 2 Transmission of a house maker into working woman in a metro as depicted in Mahanagar.

6 ‘Popular Stereotyping’, Outlook magazine, Art & Entertainment section, Dec 04, 2013, p.28. 7 Crossing threshold of the house.

Another good example that can be cited is Mrinal Sen’s movie Ek Din Pratidin expressively describing a typical middle-class state in which a daughter is allowed to earn for her family, but inspires a family crisis when she comes home late. Despite the efforts of film Directors like S. Ray, M. Sen and a few others, Indian cinema has largely been unsuccessful to keep up with the experiences of the country’s working women.

In later period, more heroines started appearing as doctors, dedicated teachers or social workers. In the 1970s, more Hindi films started portraying working women from the lower and middle classes. Several leading actresses essayed a variety of professions - Jaya Bachchan was a knife sharpener in Zanjeer and a singer in Abhimaan. Hema Malini the general manager of a company in Trishul. Rakhee played corporate secretary in Trishul and a doctor in Kala Pathar. One of the successful directors of this time, Basu Chatterji, often portrayed his heroines as working women - as in Choti Si Baat and Baton Baton Mein .

Mein Zinda Hu – A tale of betrayal in a city.

In later period the change occurred more strongly especially in presentation of the subject and victimization. Sudhir Mishra’s film, Mein Zinda Hu8 tells the story of Beena an orphan from a small town comes to Bombay for the first time as a starry eyed, tentative bride. In Bombay she is suddenly confronted with the fact that her husband did not want the marriage at all. He on his part had his dreams – dreams that have been crushed by the daily grind of existence, of bearing the responsibility of providing for his family. One day Beena wakes up to find him gone. Gradually it is assumed that her husband is deadIJOART after prolonged search. The family begins to crack under the strain of economic pressure and blame Beena for his disappearance. She has to take up a job and slowly replaces the husband in the house as a provider. The attitude of the family towards her now changes dramatically, till she gets involved with a colleague. Family reacts, but when they realize that they may loose the golden goose, they accept her new found relationship. Desperate to keep her, they even agree to her marriage with her lover on the condition that they live with the family.

Figure 3 Dipti Naval in Mein Zinda Hu, Victimization of a working woman and exploring ‘utility’ based relationships in a city.

8 http://www.deeptinaval.com/actor-main-zinda-hun.htm

Life seems to hold a new promise, till suddenly one day, the husband returns home, and a dramatic shift once again occurs in Beena’s life. The family’s attitude towards her completely changes. Initially she was a saint and a provider but now she becomes the classical whore. Threatened and bullied by her father-in-law, brow-beaten and questioned by her husband, she is forcibly kept inside the room. She is shown in asylum alone, uncommunicative. On one hand where she receives so much respect and consideration from her colleague, who is also willing to marry her, on other hand is her greedy in-law’s family who reduces her to use and throw object . The film projects urban phenomenon of survival and utility based relationships. There are many shades to the character. It can be observed that stepping outside the house for work doesn’t change terms. The protagonist is exploited, used and later her character is malafied. So, one may infer that, its not financial independence alone but conditioning of the minds of people should also take place for giving woman equal status with that of a man. An acceptance of the fact is necessary that her ‘income’ is accompanied with an ‘opinion’. Cinema can do this very effectively.

Paradigm change in Contemporary Cinema:

Contemporary Cinema conversely comes with afresh beckon. Though few films imply that the modern woman who asserts herself and her independence can never bring happiness to anyone, nor find happiness herself, there are many films those are well received who gives equal position to working woman with that of her male counter part. The best examples can be sought in acclaimed movie English Vinglish, where a middle class urban woman ‘entrepreneur’ and a mother get into a deep complex problem for notIJOART knowing ‘english’ language. In the climax scene, protagonist makes statements on gender parity and incorrect criteria that assign somebody as ‘urban’. Growth in her confidence level, her attitude, and her perspectives is well defined. The film takes serious pot-shots at the patriarchal marginalization of an ordinary woman though she is a self-respecting earning person.

Figure 4 Protagonist an entrepreneur and ideal house maker in English Vinglish enjoying her new found self. Madhur Bhandarkar’s films like Page3, Fashion, Heroine deals with urban woman, her explorations of new professions, anxieties and self learning. The projection of woman characters in films have crossed the limitations of been mainly shown only as doctor, nurse or teachers but now as an Art Directors, Journalists, Architect, Model and Business tycoon. She has the ‘power’ to bring a change and can accept or deny male dominations. She is not shown as anti-man but claim her equal status in terms of decision making, performance, earning and sexuality.

Figure 5 Exploration of various dimensions of working woman life in cities, their accomplishments and failures. However, a sensitive issue that has been less focused in movies is women exploitation at work place. Urban working woman is assumed to have been inviting trouble with her dressing and outgoing attitude. She mainly is shown to be ‘compromising’ for getting pecuniary favours. Movie like Insaf ka Tarazu depict woman victimization at work place. Similarly, movies such as Aitraz and Inkar have successfully presented male sexual exploitation at work place at the hand of woman boss or colleague and how detrimental that could become. Ekta Kapoor, is trying to explore parity of man-woman sexuality in her films but her creations require further study into understanding the relation beyond physical terms. However, by and large, one may find very few examples, where issue of sexual harassment at work is explicitly discussed particularly in corporate sector, like Companies, Call centers, and film industry (casting couch).

Cinematic representation of Urban Social Sex workers:

Another, perspective to analyze working woman condition in cities and metros is plight of social sex workers. The heterogeneous migration9 in city has given rise to flesh trade and special areas have developed in each city, specially metros. There are reserved 10 IJOART spaces for prostitution such as places like Kamatipura in Mumbai, Sonagachi in Kolkotta, Kotha no.64 GB road in Delhi and so on. Film maker & analyst Sai Paranjpe observes, ‘Filmmakers have long been enthralled by one particular group of women – those who, by dint of birth or circumstance, are forced to take on the world’s oldest profession. Chetna , directed by B R Ishara, brought a prostitute’s story to the screen in a bold manner. Bazaar (1982) was a low-budget film by Sagar Sarhadi that dealt with the sale of young girls to the Gulf countries. Mandi, a film by Shyam Benegal made in the early-1980s, was a black comedy that not only depicted the lives of prostitutes in a graphic and unromanticised manner, but deigned to accept them as a part of social life’11. Movie such as, Salam Bombay gives a phenomenal look into the life of slum dwellers and working woman in there, including the ones involved in prostitution. Many inconsequential, sensational films have also been made on the titillating aspects of ladies of the night. Midnight Girl, Society Butterfly, Vamp and Gutturna Gulab were some early productions on the subject. These days, many such works are produced in Kerala,

9 This is one of the reasons encouraging prostitution in city. Mostly, men leave their families back home in village and come to cities for work. This led them to involve in ‘sex-market’ pleasures. 10 Popularly called Red Light area/district. 11 http://old.himalmag.com/component/content/article/1692-She-and-the-silver-screen.html

with names like Hot Nights, Night Girls and so on. They however, seem to be showing objectionable adult stuff than serious handling of the issue.

Figure 6 Social sex workers in cities. A sensitive peep into their work conditions, lives and lives.

Recently released Amir Khan thriller, Talaash shows the melancholy of social sex worker where the protagonist states, “in big city like this nobody even notice when people like us (a prostitute) disappear”. Movie like Chameli exhibit urban situations rather ultra modern happening nights and solace found by the hero in a company of a city social sex worker. Like her, he too happily treats the protagonist as his equal. Movie like Chandni Bar explores urban tradition, an addition of dance bars and constant quest of the female lead for survival in man’s world as equal.

Conclusion:

Consequently analyzing various eras, Cinema has always reflected life, albeit in different ways, some entertaining, and some dark and depressing. Traditions have lingered and social paradigms are mirrored in Indian films. As women step out of their homes to work and earn, or earn even at home, our cinema had tried to reflect these changes in the women in them.IJOART Into the 21st century, this change has been socially and culturally significant and cinematically visible where the journey has been long and it has been an uphill climb.

Figure 7 B/W era projected woman, a bread winner as teacher, nurse in cities, that is involved in noble profession . The protagonist professions were however directly related to urbanization nuisances. From bread winner and teachers of Shri 420 and Asli Nakli, independent working woman in Arth to the Page 3 journalist , the single-mother doctor in Paa, working women in Indian mainstream cinema have come a long way. Over the years there has been a drastic shift in the portrayal of women on screen and also an increase in those calling the shots behind the camera. In recent times we have seen some remarkable films where the woman is not merely eye candy or a supporting character but the main hero that drives the story.

Figure 8 Changing face of working woman in Contemporary Cinema as Art Director, Wedding Planner, and daring Journalists. Cinema has successfully traced and represented changing urban social structure, equivalent position of working city woman with those of man, her melancholy, aspirations, professional requirements and responsibilities and also lady of the house. Indian Cinema is certainly changing and more representation in showing equality of genders without showing victimization of one will certainly bring attitudinal change and progression. Increasingly showing, alteration of body work, like husband cooking dinner, looking after house, baby sitting, woman doing ‘supposed to be a man’s job” will certainly bring more positive change. The core requirement of urbanization is adjustments from both sides and shouldering responsibility by couple in highly competitive and expensive world. Cinema can very well influence the minds positively towards gender equality and should consider the change.

References:

1 Banerjee Shampa & Anil Srivastav, ‘One Hundred Indian Feature Films- An Annotated Filmography’, Garland Publishing, London, 1988. 2 Chakravarty Sumita,IJOART ‘National identity in Indian Popular Cinema’, Oxford University Press. 1998.

3 Dhondy Farrukh, ‘Keeping Faith: Indian Films and Its World’, Daedalus, Fall. 1985.

4 Gehlawat Ajay, ‘Reframing Bollywood’, Sage publication. New Delhi. 2010.

5 Kazmi Fareed, ‘Sex in Cinema- A history of Female Sexuality in Indian Films’, Rupa Co, New Delhi 2010.

6 Prabhu Manjiri, ‘Roles: Reel and Real, Images of Woman in Hindi Cinema’, Ajanta, 2001.