Bollywood's iconic films, such as ‘Dilwale Dulhania Le Jayenge’ (DDLJ), ‘Kuch Kuch Hota Hai’ (KKHH), and ‘Rehnaa Hai Terre Dil Mein’ (RHTDM), ‘Aashiqui 2’ have captivated audiences for decades. These movies are often revered for their memorable dialogues, mesmerising music, and nostalgic value. However, beneath their charming facades lies a subtle yet pervasive sexism that has gone largely unaddressed. Many of these films contain a subtle undercurrent of misogyny that we only recognized much later, as we became more aware of the concept. Let's explore what we overlooked and how it escaped our notice at the time.
‘Dilwale Dulhania Le Jayenge’ (DDLJ), a film that epitomizes romance for many Indians, especially millennials, features Raj Malhotra (Shah Rukh Khan) as the perfect price charming. However, his character's behaviour towards Simran (Kajol) is often possessive and controlling. Raj's insistence on winning Simran over, despite her initial reluctance, raises red flags. This narrative reinforces the notion that a man's persistence can ultimately wear down a woman's resistance, trivializing her agency and consent.
Even ‘Kuch Kuch Hota Hai’ has been criticised for its objectification of women. The character of Tina (Rani Mukerji) is often reduced to her physical appearance, with her beauty being the primary focus of the narrative. This objectification is further exacerbated by the film's portrayal of Anjali (Kajol), who is shown to be "unattractive" until she undergoes a makeover. This transformation reinforces the notion that a woman's worth is tied to her physical appearance.
Even though ‘Rehnaa Hai Terre Dil Mein’ (RHTDM) is often praised for its romantic storyline, features a protagonist, Maddy (played by R. Madhavan), who engages in stalking behaviour towards Reena (Dia Mirza). Maddy's actions, including secretly watching Reena and showing up at her workplace, are portrayed as endearing and romantic. This narrative perpetuates the dangerous notion that stalking is an acceptable expression of love.
In ‘Aashiqui 2’ the portrayal of Rahul's (Aditya Roy Kapur) possessiveness and jealousy towards Aarohi (Shraddha Kapoor) is problematic, as it romanticises controlling behaviour.
‘Yeh Jawaani Hai Deewani’ portrays Deepika Padukone as Naina who is a nerdy, unattractive girl who needs a makeover to become desirable reinforces the notion that a woman's worth is tied to her physical appearance. Bunny's (Ranbir Kapoor) character embodies toxic masculinity, as he prioritises his own desires and ambitions over Naina's feelings and well-being. Just like Anjali in ‘KKHH’, Naina only becomes desirable to Bunny after shedding her nerdy look. Why is value tied to transformation?
In ‘Kabir Singh’ the film's protagonist, Kabir (Shahid Kapoor), engages in toxic and misogynistic behaviour, including physical and emotional abuse, which is often romanticised or trivialised.
Can we create a more progressive and empathetic Bollywood?
These beloved Bollywood films, while entertaining and memorable, perpetuate sexist attitudes and misogyny. But can we also say that misogyny is so deeply embedded in our societal values that we often overlook these subtle yet significant nuances? As we continue to celebrate these iconic films, let us also recognize the importance of representation, consent, and agency in storytelling. Only by acknowledging and addressing these issues can we create a more progressive and empathetic Bollywood.
By reevaluating these films through a critical lens, we can work towards creating a more inclusive and equitable cinematic landscape.
Image courtesy:
Pooja Entertainment (Rehnaa Hai Terre Dil Mein)
Dharma Productions (Kuch Kuch Hota Hai)
Eros International (Raanjhanaa)
Vishesh Films and T-Series Films (Ashiqui 2)
Dharma Productions (Yeh Jawaani Hai Deewani)
