When heroines call the shots

Nonika Singh

IT’s an industry conventionally ruled by men. Gender pay parity is like a chimera no one even cares to chase. #MeToo movement can only be discussed in hushed whispers or in context of long-distance Hollywood. The one visible ray of hope in a men-driven Bollywood has been the rise of women in title roles. What was an aberration, a rarity, till about a few years ago may not be a norm today. However, women essaying titular parts is fast becoming a reality.

Or do we really have a reason to be gung ho about? Do heroine-centric films signal the big change? Or is it a minor detail of the big picture where gender dynamics remain locked in a time warp and loaded against the heroine? One look at films like Queen and Piku and the answer is that refreshing winds of change began to blow a few years ago. Both films saw these talented heroines Kangana Ranaut and Deepika Padukone slip into title roles. Besides, they held up a lot more that is progressive and refreshing. Piku threw clichés out of the window all too subtly.  When Queen released in 2014, a day before international women’s day, it gave us every reason to smile. Kangana went on to win the National Award and also earn the epithet Queen and set new benchmarks for other heroines. She called the shots when sequel to her Tanu Weds Manu rolled out. She hogged the limelight in a double role and a new fearless bindass (badass if you wish) image of heroine was sealed further. Be it spirited the Tanu or gutsy Haryanvi girl Kusum, these parts almost became a prototype from where other actresses and directors drew inspiration. The male costars were almost edged out not just in Tanu Weds Manu Returns but also in her later outing Simran. 

Hansal Mehta’s Simran, however, did underline; heroines, even talented ones, are not a surefire guarantee of boxoffice success, especially if the content is not quite sterling. But, many of these films do ensure a new line of thought.

Stereotypes are challenged at almost every step, and at many levels. In Piku, Amitabh Bachchan plays a progressive father, open to his daughter’s sexuality who quips, “marriage without purpose is such a low IQ thing.” In Tumhari Sulu, Manav Kaul essays a caring husband, and is even seen pressing his wife’s feet. In Queen, the hero might be a cad but the father is exceptionally understanding and sensitive to the needs of his daughter. 

Indeed, not all films with heroines in title roles are a ticket to glory or an affirmation of womanpower. Often these films can be much ado about nothing. Begum Jaan, Haseena Parkar, Revolver Rani are examples that not only fell flat at the boxoffice and critics meter but did little to empower the Indian heroine. But for every damp squib, there is a Tumhari Sulu, a Mardaani, a Neerja and a Mary Kom. While Kangana is seen to occupy an unassailable position as rani of all she sees and conquers, Vidya Balan is yet another face of the womanpower in Bollywood. Strong and comfortable in her skin, she has time and again proved how an actress can carry a film on her strong shoulders.

Heroines can hold a film is, perhaps, a foregone conclusion and not strictly a new phenomenon. Even if one looks back there was always a Mother India or a Chandni that proved the mettle of heroines beyond doubt. Superstars such as Sridevi and Madhuri Dixit set the cash registers ringing way back too. Today’s heroines, however, are not cut from the same cloth. Long time ago, a powerful female character meant a femme fatale or a sati savitri. Currently, they are made up of sterner stuff; can be gentle and loving, vivacious and firebrand, with a mind of their own. 

Indeed, the paradigm has not shifted where we can hail, ‘long live the Bollywood heroine.’ But the change is significant. Many see 2017 as the year of the heroine what with nearly 20 films in which they dominated like a colossus. In 2018, the number of films with heroines in saddle might be less. However, the year has opened with smashing hit Padmaavat. The change in title has little bearing on the reassuring fact that not only did Deepika take home a fatter paycheck she won unqualified praise for her dignified portrayal. In future Manikarnika: The Queen of Jhansi, Jasmine and Raazi are lined up, all likely to up the female power quotient. 

The original female superstar may have breathed her last but more and more heroines are smelling the coffee. And this is no storm in the coffee cup. The aroma is strong and lingering, just like the lovely leading ladies. At times, the taste could be a tad too sweet as in Bareilly Ki Barfi, a bit off-putting as in Revolver Rani, bland as in Noor. However, examples where you can fault her for not holding her own are few and far between.