Feminism Through the Lens of Indian Cinema: The Politics of Portrayal

The Indian Film Industry, popularly called Bollywood, has witnessed a significant transformation from the evergreen black and white era to the vivid colours of recent times. Serving as the epicentre of cultural expression, it has shaped ideas and attitudes, not only in India but also globally. In the purview of cultural shifts, there is now much discussion igniting over how women are portrayed in Indian cinema. 

Illustration by The Geostrata

As it is rightly said that cinema serves as a mirror to reality, in this regard, Indian society has historically been very conservative, relegating women within the private sphere; therefore, this is exactly what was initially portrayed in the films. However, as the feminist movement found its course, there were now shifting realities. From the glamorous Barbie dolls of the past to the fearless and brave heroines of today, this journey shows how artistic expression has broadened over the years.

THE GOLDEN ERA

The Golden Age of Indian cinema, spanning from the 1940s to the 1960s, witnessed the emergence of pathbreaking filmmakers like Mehboob Khan, Raj Kapoor, Bimal Roy, and Guru Dutt, who very masterfully blended dramatic exaggeration with social issues. Marked by all-time classics such as Awara (1951), Pyaasa (1957), and Mother India (1957).

These movies moved away from the portrayal of an “ideal woman” and subsequently opted for more nuanced and intricate representations that were congruent with the early feminist theories. The good part was that female characters were recognised beyond their looks.

However, their character still lacked depth and remained one-dimensional, confined to the dichotomy of the “virtuous woman” versus “seductress”, lacking any further nuance. 

Additionally, female agency was limited, and most stories revolved around men’s journeys, with women positioned as objects of desire and lust, fuelled with item numbers especially to entice the male gaze.

CHALLENGING STEREOTYPES: THE RISE OF PARALLEL CINEMA

Parallel cinema, popularly known as art cinema or new wave cinema, started to come to fruition in the last part of the 1960s as an antithesis of mainstream Bollywood movies. Marked by the rise of revolutionary filmmakers, like Shyam Benegal, Satyajit Ray, and Ritwik Ghatak, the genre was deeply ingrained along the lines of social realism and sought to depict female characters in an authentic and unvarnished manner. 

Satyajit Ray, the flagbearer of this movement, made Charulata (1964), the story of a highly intelligent yet lonely housewife who fought against social constraints while keeping her emotional complexity intact. Subsequently, in the movie Devi (1960), Ray interrogates the detrimental effects of rigid religious dogma on women’s lives.

Alongside Ray, another remarkable director, Ritwik Ghatak, infused personal struggles with historical trauma in his masterpiece, Meghe Dhaka Tara (1960).

Shyam Benegal further served as a catalyst to the feminist narrative by skilfully creating movies that touched upon the complexities of caste, class, and religion within the helm of feminism. For example, one of his most acclaimed works, Ankur, brought into light a new spectrum of socially conscious filmmaking by integrating a Dalit woman’s experience in Indian cinema. 

Therefore, the success of parallel cinema laid the path for contemporary Bollywood, drifting away from the stereotypical “flowerpot” roles for women to actually highlighting their struggles and portraying them as strong leads, with bold voices and staunch opinions.

BOLLYWOOD IN THE POST-1990s ERA

The contemporary phase of Bollywood is defined by a significant increase in female filmmakers and actresses who have become more open to playing characters that break away from the traditional threshold. Consider, for instance, legendary filmmakers like Deepa Mehta and Alankrita Shrivastava, who have ignited a cinematic rebellion by laying out a niche with films like Lipstick Under My Burkha and the Elements Trilogy. 

More so, the actresses in recent times no longer shy away from taking on unapologetic and avant-garde roles, which place women at the centre of the narrative.

Alia Bhatt, for example, has one of the most diverse and experimental filmographies in present times. From her role as a Bihari migrant worker in Udta Punjab to that of a sex worker, who becomes a political matriarch in Gangubai Kathiawadi, she has become a force to reckon with, all thanks to her daring choice of roles.

In the same way, veteran actress Tabu has continually pushed boundaries to bring something new to the table with films like Chandni Bar, Astitva and Drishyam. 

ONGOING CHALLENGES

Although Indian cinema has come a long way from its earlier one-dimensional portrayal of women as mere Barbie dolls, major challenges persist. The first and most glaring issue of all is the pay gap; female actors are still massively underpaid in Bollywood. In an interview with the BBC, Priyanka Chopra raised the persistent issue of pay disparity in Bollywood and how, despite working as hard as her male counterparts, she is paid much less.

Further, pointing out that while films with a male lead could make $40 million at the box office, those with a female lead would earn less than a quarter of that in Bollywood.

Subsequently, in 2015, after the success of films like Queen and Tanu Weds Manu Returns, Kangana Ranaut openly expressed that she deserved to be paid on par with male actors, citing that her male co-stars earned three times more than her and questioning why such discrimination existed when no one could guarantee a film’s success.

Beyond the economic aspect lies the issue of typecasting, whereby a film directed by a woman is automatically assumed to be “feminist” and the rest of its layers are blissfully overshadowed. This way, the story is reduced to a single tag, overlooking the other artistic and thematic elements it may have. On the contrary, when male directors explore feminist ideas, their films are rarely presented in the same way, therefore signalling clear examples of double standards. Feminism in Indian cinema remains inherently paradoxical.

Subsequently, in this regard, women directors are made to feel as if they have to either fit into the “feminist” mould or avoid certain topics altogether, therefore limiting the diversity of stories they can tell. Another major concern in the context of diversity is that very few films portray the struggles of disabled women, Dalit women, or women from queer backgrounds. Even so-called feminist films often cater to a narrow, often elitist audience.

Lastly, objectification continues, especially through item numbers.

These songs, which often have no connection to the plot, are inserted purely for visual appeal and serve as a lurid staple of Indian cinema. While some argue it’s just a part of Bollywood’s entertainment culture, it ends up reinforcing harmful stereotypes and reducing women to ornamental figures rather than meaningful characters. What makes it worse is that emphasis on physical beauty fuels unrealistic beauty standards, making young girls insecure and further shaping societal perceptions that stoke the insidious flames of patriarchy. 

CONCLUSION

As we noted, films now feature female protagonists in a bold and unconventional light, thereby reflecting a gradual shift from unidimensional archetypes. However, major challenges still persist, especially about funding, typecasting, the male gaze, stereotyping, and even pay gaps between actors and actresses. Subsequently, these issues adversely impact the creative agency of women within the professional space.  Therefore, to draw upon symbolic progress, it becomes imperative to achieve equitable representation – both on and off screen.

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BY URJA SUKHWANI

TEAM GEOSTRATA

info@thegeostrata.com