Women in Bollywood

Film is somehow a depiction of real life. The movies produced invent a nations culture and the interplay of its citizens within the order. Such interplay is the role of a man and a charr in India. Cinema in India is the largest tillable movie industry in the world. Kn induce as Bollywood, Indians ar able to make films which portray the Indians way of life, provoke their sense of identity, and their nationalism. By looking at Indian films, one can have the general idea of the Indian society. Women, in particular, are clearly portrayed in Bollywood.There are notions of what a computable and a bad cleaning woman is. The actions of women depicted in the films also create norms on how women are placed in the society. Just interchangeable films from other countries, Bollywood have by and large projected women in a standardize character (Mishra, 2002, p. xix). Though the Indian culture evolves in accordance with modern times, women standard in films somehow has been typified with in the norms. Two of the best-selling Hindi movies that made its mark on Bollywood Cinema have women as the main character. female parent India (1957) and warble Aapke Hain Kaun (1994), some(prenominal) are notable exercises in the Indian film industry. The former being a dramatic movie and the latter, a romantic comedy feature with musical. These two films presented women who are bounded by the traditions of the society and how they reacted to it. Both of the films pertained to the concept of Indias ideal woman. As heroines from the two movies revolved around different surround and time frame, they were depicted as the women molded into the traditions of Indian society. These traditions lead to the films depiction of Indias nationalism.As what Thomas mentioned in her essay (1989) about Indias struggle for exemption in the form of films Since it first emerged in the context of colonial Indias fight for independence, Indian cinema, for a number of rea word of honors, has been co ncerned with constructing a notion of Indian cultural and national identity. This has involved drawing on concepts such as traditions. (p. 11) Mother India is a film that has a heavier plot than that of the warble Aapke Hain Kaun. Radha, the female helper faced a lot of moral and social struggles as the story progress.Her personal role as a mother conflicted with her public responsibility as a woman. As a young woman who married the man she kip downs, she was encapsulated in the dutiful role of a wife. Radha fulfilled the traditional wife duties as her husbands companion and helper at work. Radha is one of the most dynamic characters in Bollywood. Her change in attitudes in the course of the film was unavoidable as dramatic situations occurred in her story. The changes that happened in Radhas character are two opposite personalities of a woman.From the shy, newly married young woman she modify into a self-dependent single mother who worked hard to uphold the dignity of her chil dren and their standard of living. Her marriage with Shamu made her a committed and devoted wife to him. She is always at his side especially when working. However, as tragedy followed Shamu getting handicapped resulted into his decision to leave his family, Radhas role as a mother has to be emphasized. Her solicitude turned into a strong, courageous woman who built her family within dignified moral grounds.With this kind of dynamism, Radha was depicted as a powerful woman. The character of an sceptred and independent woman was very rare in Indian cinema at the time Mother India was released. This kind of portrayal brought Radha with goddess-like features because of enduring so a high-priced deal struggles and overcoming tribulations. Radha was one of the few fictional female characters depicted in a heroic manner. The flow of Radhas story is quite similar with the goddess Sita. Radha who endured the hard work together with her husband just like what Sita did when she gave up ri chness to join her husband in exile.Both of them endured the hardships of raising their children alone. Though both(prenominal) of them may have been portrayed as frail and timid, they exude strength especially in the most challenging aspect of their lives. The loyalty and chastity of the goddess can be seen on the movie where Radha refused Sukhilals offer of marriage. Upholding her chastity meant maintaining the dignity of their family in spite of their situation of poverty. Radha always reminded her sons to live a life within moral principles and to serve as good citizens of their village.The chastity was not only for her but for her familys name. Her sons became the extension of maintaining that purity despite their strife in life. Another goddess associated with Radha is the goddess Kali. The goddess is described as the fierce, passionate goddess of both life and remnant (Thorner, Raj & Trust, 2000, p. 97). The fierceness of the goddess can be witnessed when Radha aggressive ly declined Sukhilals seduction and almost caused havoc inside his house. The characteristic of Kalis destruction can be identified in the event when Radha shot her favorite son.There was a struggle within Radha to be a good mother or to be a law abiding citizen. Birju failed to uphold what his mother have instilled to them and because of this, Radha decided to end his life to maintain the honor of the family. The crosstie of Radha with Kali has been raise justified by Rosie Thomas. Focusing on the experiences of men closer to Radha, Thomas indicated Radhas goddess feature of punishment. Her depiction on the film holding heavy ax and shovel that she uses for farm work portrayed her as a strong woman that is capable of punishing if issues does not go right (Thomas, 1989, p.17). The mere association of men with Radha caused the men on the film to be somewhat destroyed. Thomas described this destruction as an attribute to Radha being analyzed to Kali She kills her favorite son her husband loses both arms (and implicitly his manliness)the villainous Sukhilal end up covered in cotton fluff, cowering like a naughty infant as she beats him with a big stickThus, she is both venerator of men and venerated by them as devi (goddess) and maa (mother), and she is, in turn, in need of mens protection and a protector and destroyer of men. (p.16) The character of Radha can be quite the contrary for the depiction of Nisha in Hum Aapke Hain Kaun. This is a romantic comedy family-oriented film. If Mother India mostly portrayed the role of the woman in a society, Hum Aapke Hain Kaun showed womens place within the structure of the family. Indian traditions are clearly emphasized on the film especially in the engagement and wedding ceremonies (Hirji, 2005). Though the plot in the movie consists of light drama, the underlying role of the women in a classifiable Indian family connotes how women are in real life.The women in this film are bounded by family traditions which meant that every decision in the family should come from the male piece of the family. The constitution that was made between Mr. Kailashnath and Mr. Siddharth for Pooja and Rajeshs wedding made it very clear. This scene proved that family decisions should rule and the rule comes mostly from the male members. Women in Hum Aapke Hain Kaun are portrayed as dutiful and obedient. Nisha, the younger sister of Pooja, is the woman who is given focus on the film. She is portrayed in the film as a playful prankster and cheerful woman.As every woman in India, she is deeply attached with her family and it is seen in her human relationship with her sister whom shes closest with. Eventually, Nishas relationship with Prem will be greatly affected by her relationship with her family. Like Radha, Nisha experienced a transition within her character. Though Radha is a bit much complex, Nishas transition can be seen from being a happy-go-lucky girl to a woman that has to fulfill her familys traditions. This is more evident when Prem and Nisha sacrificed their love so that she could marry Prems brother after Poojas death.The woman is seen to give up her own wishes and desires to abide her duties in her family. This aspect of women in Indian culture provided similarities with the goddess that was compared with Mother India. Aside from being loyal and upholding her chastity, the goddess Sita is a devoted and dutiful woman to her sons and to her husband. This feature is apparent on the easy acceptance of Pooja with the arrangement of marriage with Rajesh. The marriage was arranged by two of the highest male authorities of both families and the film portrayed that the decision to marry was a final thing to do.Shedding off whatever attraction that may have happened when they were introduced, an objection for the marriage from either Pooja or Rajesh did not exist for the sake of their fathers. On the other hand, Nisha despite her feelings for Prem decided to marry Rajesh for the sake of her nephew and her dead sister. Though it was against her will, she decided to take the route of being married to her brother-in-law. This event, as part of her change, showed Nisha becoming an ideal woman who sacrificed and obeyed her family.Like the goddess Sita who allowed Rama to exile her, Nisha complied with her familys request even if it entailed to give up her love for Prem. This film showed the Indian traditions viewing Nisha as a heroine who would never put her own dreams ahead of the aspirations and desires of her family or men (Ghose, 2006, p. 5). The conservative woman who considers her self as a second priority is what appeal as an ideal woman. Nisha is a good woman with a generous heart that can be compared to the dutiful goddess Sita who is the epitome of how Indian women are raised.On the contrary, the opposite of the good or ideal woman is revealed in the character of Mamiji. Nisha is portrayed as the simple conservative girl while Mamiji is depicted as selfish, mercenary, and vain (Ghosh, 2000, p. 86). Her being vain is symbolized as being self-centered which opposed Nishas character of selflessness. The fact that Mamiji does not have a child of her own makes her what she is. The lack of motherhood in her personality entertained her attention solely on herself. The concept of a bad woman in the film can be compared to the struggle that India has been experiencing after the colonial period.Somehow, the qualities of a bad woman in the image of Mamiji such as going to the beauty parlor can be seen as a modern caseful of woman. As Rosie Thomas mentioned, Indian films are mostly in the context of struggling for independence by showcasing nationalism through tradition (Thomas, 1989, p. 11). The depiction of the sharp Mamiji as a modern woman in oppose to Nisha or Pooja as the traditional women of India say much about Indias effort to promote its culture rather than the practices that are left by their invaders.Taking all of these into account , somehow it can be determined that an ideal woman within the Indian society is someone who is submissive and selfless. Both films are able to portray those traits. Mother India and Hum Aapke Hain Kaun are perfect depictions of women who are bounded by Indian traditions whether in society or in the family. Though both women differ in strength and with the way they are portrayed, Radha and Nisha are both subjected to the responsibilities that they have as women going away no room for their own will and personal desires.The portrayal of women in films having goddess-like characteristics, symbolizes the nationalism of India. India regarded many female gods in their religion and they attributed these deities as an example of how a female should behave in the society. Emphasizing traditions in Bollywood is their way of promoting Indian nationalism. One effective way of showing these traditions would be in the form of a female as both of these films have been considered as icons in the In dian film industry.These female characters that were associated with Hindu goddesses transcend into society to be emulated and to uphold the culture. For Indians compare their country to a female that nurture its people and unselfishly gave her land for them to nourish and to raise a dignified India. References Ghose, A. (2006). Of Names of Women in Hindi Cinema. Retrieved October 30, 2008, from Esocialsciences . Ghosh, S. (2000). Hum Aapke Hain Kaun Pluralizing Pleasures of Viewership. Social Scientist, Vol. 28, p. 83-90.Hirji, F. (2005). When Local Meets Lucre Commerce, Culture and Imperialism in Bollywood Cinema. Carleton University. Retrieved October 30, 2008, from http//lass. calumet. purdue. edu/cca/gmj/OldSiteBackup/SubmittedDocuments/Fall2005/graduate/Hirji-%20Refereed. htm. Mishra, V. (2002). Bollywood Cinema Temples of Desire. New York Routledge. Raj, Maithreyi. K. , Thorner, A. & Trust, S. (2000). Ideals, Images, and Real Lives. New Delhi Orient Blackswan. Thomas, R. (198 9). Sanctity and Scandal The Mythologization of Mother India. Quarterly Review of Film and Video, Vol. 11, 11-30.