LITERATURE TO FILMS: A STUDY OF SELECT WOMEN PROTAGONISTS IN HINDI CINEMA THESIS Submitted to GOA UNIVERSITY For the Award of the degree of Doctor of Philosophy in English by Mrs. Bharati P. Falari Under the Guidance of Dr. (Mrs.) K. J. Budkuley Professor & Head, Department of English, Goa University, Taleigao Plateau, Goa - 403206. October 2013 CERTIFICATE As required under the University Ordinance, OB-9.9(viii), I hereby certify that the thesis entitled, Literature to Films: A Study of Select Women Protagonists in Hindi Cinema, submitted by Mrs.Bharati P.Falari for the Award of the Degree of Doctor of Philosophy in English has been completed under my guidance. The thesis is the record of the research work conducted by the candidate during the period of her study and has not previously formed the basis for the award of any Degree, Diploma, Associateship, Fellowship or other similar titles to her by this or any other University. Dr. (Mrs.) K.J.Budkuley Research Guide Professor & Head Department of English, Goa University. Date: i DECLARATION As required under the University Ordinance OB-9.9(v), I hereby declare that the thesis entitled, Literature to Films: A Study of Select Women Protagonists in Hindi Cinema, is the outcome of my own research undertaken under the guidance of Dr. (Mrs.) K.J.Budkuley, Professor & Head, Department of English, Goa University. All the sources used in the course of this work have been duly acknowledged in the thesis. This work has not previously formed the basis of any award of Degree, Diploma, Associateship, Fellowship or other similar titles to me, by this or any other University. Mrs. Bharati P.Falari Research Student Department of English, Goa University Taleigao Plateau, Goa Date: ii ACKNOWLEDGEMENTS Words may not be able to express my deep feeling of gratitude. However inadequately, I wish to express my gratitude: - to my research guide, Dr. (Mrs.) Kiran J. Budkuley for her inspiration, great patience, and kindness; her valuable guidance and perceptive insights into the subject helped immensely; - to Prof. K.S. Bhat, Head of the Department, English, Prof. R.N. Mishra, Dean of Languages and Literature, Dr. A. R. Fernandes, and Dr. Nina Caldeira for their encouragement; - to Dr. Nandkumar Kamat, Shri. Ram Balani, Shri Sebastian Pinto, Ajay Noronha and Sammit Khandeparkar for their valuable support; - to Smt. Nutan Mohite and Shri. Rudraunsh of the Department of English for their help; - to the administrative and library staff of Goa University and National Film Archive of India, Pune, for their whole-hearted co-operation; - to my Principal Shri. Santosh Amonkar, Vice-Principal, Shri. Govind Havaldar (D.I.E.T) for their valuable support; - to Apoorva Kulkarni and Shirish Desai, for the interviews; Smt. Champa Bhattacharya for her precious help in translation; - to my father and mother for inspiring me to undertake research; Vandana and Babush for their motivation. Finally, I must mention the constant encouragement and support provided by my husband, Prashant and son, Nikhil. My sincere thanks to all of them. Date: Mrs. Bharati P. Falari iii CONTENTS CHAPTER ONE: INTRODUCTION 1.1 Introduction…………………………………………………….......... 1 1.2 The pioneering of Indian Cinema………………………………....... 1 1.2.1 Silent Cinema………………………………………….............. 2 1.2.2 The ‘talkies’……………………………………………............ 3 1.2.3 The introduction of censorship…………………………........... 3 1.2.4 Cinema and its language………………………………............. 5 1.3 The influence of literature on Hindi Cinema……………………. ....... 6 1.3.1 The decline of the studio system………………………….….... 7 1.3.2 The great visionaries of Indian Cinema………………….…….. 8 1.3.3 The changing trend ……………………………………….….... 9 1.4 Women in Hindi Cinema: real or fictitious? ………………………... 10 1.4.1 Creating images ………………………………………….……. 10 1.4.2 Women-centric Cinema………………………………….……. 13 1.5 Scope of the present study……………………………………….…... 14 1.6 Aim and objectives of study…………………………………….…... 15 1.6.1 List of selected films based on respective literary texts….….... 16 1.6.2 Criteria for selecting the films…………………………….….... 17 1.6.3 Delimitation………………………………………………….... 17 1.7 Bases for grouping of the films………………………………….…... 18 1.7.1 Classics revisited………………………………………………. 18 1.7.2 Films based on biographies……………………………….…... 20 1.7.3 Films based on social issues impacting women’s lives….……. 22 1.8 Research methodology……………………...……………………….... 23 1.9 Literature survey…………………………………………………….... 24 1.10 Brief chapter-outline …………………………………………........... 27 1.11 Relevance………………………………………………………........ 30 CHAPTER TWO: TRANSMUTATION: LITERATURE TO CINEMA 2.1 Introduction………………………………………………………….. 31 2.2 Literature and Cinema……………………………………………….. 31 2.3 Adaptations and the issue of fidelity……………………………….... 34 2.3.1 Relationship between ‘word’ and ‘image’……………………... 36 2.3.2 Rhythm and Cinema…………………………………………… 38 2.4 Hindi films based on Literature……………………………………… 40 2.4.1 Screenplays: a literary genre ………………………………….. 42 2.5 Transmutation and its techniques……………………………………. 43 2.5.1 Transmutation as a concept…………………………………….. 43 2.5.2 Flashbacks……………………………………………………… 44 iv 2.5.2.1‘Flashback’ technique in Films under study……………. 46 2.5.3 Songs as a device of transmutation……………………………. 52 2.5.3.1 Songs as a sub-text……………………………………… 54 2.5.3.2 Regional flavour………………………………………... 59 2.5.3.3 Songs- A maker of images; ‘real’ as well as ‘reel’……... 60 2.5.3.4 Poetry and Songs……………………………………….. 61 2.6 Dreams, Fantasy, Imagery and Motifs………………………………... 63 2.6.1 Mirror images: what do they tell?.................................................. 68 2.6.2 Motifs………………………………………………………….... 72 2.7 Time-period……………………………………………………....…... 74 2.8 Nature- a storehouse of symbols……………………………………... 75 2.9 Conclusion…………………………………………………………..... 78 CHAPTER THREE: EMERGENT FEMALE SUBJECTIVITIES IN HINDI CINEMA 3.1 Introduction……………………………………………………………. 80 3.2 Feminist theories vis-à-vis female subjectivity……………………….. 82 3.3 Issues related to the portrayal of female subjects……………………... 84 3.4 ‘Femininity’ vis-à-vis female subjects in public/private domain…..…. 85 3.4.1 Treatment of female subjects in unconventional roles………….. 90 3.4.2 Biopics as studies of female subjectivity…………………….…. 92 3.5 Family structure and females as agents of patriarchy……………….… 93 3.6 Psychoanalytic view of female subjugation…………………………... 94 3.7 Female subjectivities in the light of Postmodernism………………….. 96 3.7.1 Questioning the hegemony of western feminism……………….. 98 3.7.2 Mythology and postmodernism…………………………………. 99 3.7.3 Recognizing the ‘context’ of the subject………………………… 101 3.7.4 The changing female subjectivities……………………………… 103 3.8 ‘Objectification’ of women through the male gaze……………………. 105 3.8.1 Male gaze versus female gaze…………………………………… 106 3.8.2 Commercializing the image of ‘marginalized’ women………….. 108 3.8.3 Body as site………………………………………………………. 110 3.9 Conclusion…………………………………………………………….. 114 CHAPTER FOUR: WOMEN-CENTRIC ISSUES AND GENDER RELATIONSHIP IN HINDI CINEMA. 4.1 Introduction………………………………………………………......... 116 4.2 Patriarchy as a major concern………………………………………..... 116 4.2.1. Understanding Patriarchy………………………………………. 117 4.2.2 Family as the basic unit of Patriarchy…………………………... 117 4.3 Panchayats: a form of social patriarchy……………………………..... 121 4.4 Issues and concerns impacting women’s lives………………………... 126 v 4.4.1 Preference for a male child…………………………………….... 126 4.4.2 Untouchability: the worst form of human degradation…………. 126 4.4.3 Class conflict……………………………………………………. 127 4.4.4 Abduction……………………………………………………...... 129 4.4.5 Partition- related issues…………………………………………. 130 4.4.6 Woman: a victim of prejudice and abuse……………………...... 132 4.4.7 Displacement…………………………………………………..... 134 4.5 Male-female relationship and changing power equations………...... 135 4.6 Female bonding: camaraderie in suffering and sublimity………….... 139 4.7 Conclusion………………………………………………………….. 141 CHAPTER FIVE: CONCLUSION 5.1 Introduction…………………………………………………………. 143 5.2 Objectives identified……………………………………………….. 143 5.3 Major findings of the study……………………………………….... 144 BIBLIOGRAPHY…………………………………………………… 157 vi vii CHAPTER ONE Introduction 1.1 Introduction Today, we cannot imagine the modern Indian society without films. But it is also impossible to conceive of a film without a ‘story’. A film must ‘tell’ and ‘show’ a story, unfolding it layer by layer, presenting the magic of the narrative on the silver screen. The stories that are rooted in culture are appreciated by the audience. More so, if they are familiar with them in the oral or written form. There has been an indelible bond between literature and films right from the beginning. Indian Cinema, particularly, Hindi cinema has become a significant part of the Indian mainstream culture. It has moulded our views, guided our preferences and interests, and created deep-rooted values and norms. It is a unique brand with its inimitable style; enchanting the audience, drawing them into the magnetic spell of its fictitious world. This underscores its importance on the social firmament. 1.2 The pioneering of Indian Cinema Dhundiraj Govind Phalke pioneered Indian Cinema with Raja Harishchandra (1913). Based on the puranic katha, it was Indian not only in its content but also in its value system. In fact, its entire crew was Indian. Phalke accomplished this feat when Indians were reeling under the colonial rule. Phalke had to tackle many hurdles in the making of his first film. The prejudices against women and the ignorance about the medium were so strong that Phalke