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Where
was the Indian Heroine going in 1999?
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Pradeep Chennavajjula *
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1999 was a critical
year for Hindi Cinema. The changes were initiated in the '90s seemed
to reach their peak in the 99th year of the century. While women characters
grew more assertive, men grew more sensitive, with action heroes Akshay
Kumar and Sunil Shetty taking their first tentative steps in meaningful
(?) films this year.
While top stars often failed to deliver, the much-maligned ramp queens
walked away with the acting honours. The old guard lost further ground
with globally sensitized, debutant directors and music directors producing
the most exciting new work of the year. Hindi films also continued
to break box-office records in the 'newly discovered' NRI territory
across the seas. As Mumbai's masala melodramas headed west,
there seemed to be a hope for the millenium year.
But in all, the dreaded Y2K proved to be one of the most depressing
years for the film industry, with many black Fridays and few silver
linings. Here's a short analysis on the change in the filmi
woman.
If there was a slight thematic departure this year, it was in the
profile of the filmi woman. The sweetly smiling and silently
suffering yet sensuously swaying heroine acquired a new avatar
in 1999. The biwi no. 1 turned militant when her man headed
towards new attraction and took him back into her home and heart
only after he had learnt his lesson. The heroine of Hum Dil De
Chuke Sanam stubbornly opposed her patriarch's chosen beau and
even ran after her Italian lover, pati in tow. Even the modern-day
Sitas of Sooraj Barjatya's Hum Saath Saath Hain,
cast in the mould of the quintessential Bharat Nari, occasionally
managed to make themselves heard.
Deep down, however, the heroines have remained loyal to their patis,
parivars and parampara. By showing an inclination to step
out, even though tentative, the Hindi Film Heroine raised the hope
that from being the 'beaten half', she might become 'assertive half'
in the coming millenium. The heroine of the late 90's is stronger
than her predecessor and she reflects the new Indian women who is
educated and talks upfront, though she still has a long way to go
before finding complete emancipation. While being very much the sacrificer,
she is now an achiever as well. Moreover, she instinctively knows
where to draw the line.
Marriage is still a sacred institution in our country and while a
few weeks of separation is acceptable, divorce is a taboo. There's
very little sympathy for the other woman and one nightstands are an
acceptable entity going my the debacle of Dil Kya Kare. Even
Subhash Ghai's Taal, remained true to tradition as Manasi
runs back to her first love minutes before she is to marry her benevolent
benefactor, just because first love was "divine" and therefore more
valid than a pragmatic alliance.
Many a times, now I wonder, what will be my wife like when I get back
home. She would be interested in what kind of behavior. Probably,
I should ask the cable guy as to what was the movie that was screened.
In the next article, I would be exploring the moods and sentiments
of the Indian Hero of the late 90's and what makes one a hero of the
millenium…. Strictly in the movies only. |
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End
of Analysis
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| * Pradeep Chennavajjula
works as the Dean, ICFAIan Business School, Mumbai. You can reach
him at [email protected] |
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