вЂњIndia Together: BollywoodвЂ™s вЂhomelyвЂ™ Heroines вЂ“ September 2003.вЂќ India Together: The News in Proportion.

Only when women progress will the scripts progress too.вЂќ Well the women have advanced, but the scripts of the heroine of Indian cinema are lagging behind. Even today, most heroes will tell you вЂI want a homely wife who will take care of my kids and look after the houseвЂ™. Certain ideas will be unacceptable to our audienceвЂ¦. Is this stereotyping pleasing towards males, or do even women agree to go back to the traditional housewife role? Are the ideas of the outside now crossing too far into the boundaries of IndiaвЂ™s spirituality, inner sphere? During an interview, legendary actor Shahrukh Khan says that вЂњIt is pointless to compare our films with those of the west because our society has its own limitations. Tagline: Plot Summary: Lakshmi Productions> (Madras)ANDHAA KAANOON has a very powerful theme that in itself possesses enough merit and force to hit the audience directly. So why it that as the world modernizes, Indian cinema is reverting back to its history of social structure? It seems as if the filmmakers are only responding to the demands of their audiences. Durga keeps trapping her brother, Vijay keeps dodging police, Killers uses law for the killings, Ja Nisar is a victim of law, Amrish Puri uses law from a different angle, Dharmendra does a small cameo and uses law in his own way, Vijay takes his revenge and make a mockery of law.

Farhan AkhtarвЂ™s Dil Chata Hai and Karan JoharвЂ™s Kabhi Khushi Kabhi Gham all have women as pretty pieces and passive homemakers. Madhuri Dixit created the вЂњtrend of heroines who would never put their own dreams ahead of the aspirations and desires of their family or menвЂќ in Sooraj BarjatyaвЂ™s Hum Aapke Hain KaunвЂќ. Thus, as India went global, the filmmaking industry regressed back to the theory of women belonging in the gahir (home), not bahir (outside). Like majority of the world, India was becoming globalized, and as directors incorporated higher technologies and action packed films, women were just seen as mere appendages. By the late вЂ™70s and early вЂ™80s, heroines were shown not only as working, but also as sole breadwinners and fighters of several social battles.Д¬ome the 1990s and 2000s, women had lost their space in the working sphere.

The 1960s were filled with working woman, such as Rekha in Phool Bane Angare and Hema Malini in Andha Kanoon. While they have proven their skills in medicine, business, literature, and much more, these aspects are not reflected in Hindi cinema.ДЄlthough many movies have the typical love story plot, one should look at films by Bimal Roy and Guru Dutt of the 1950s, who portrayed their heroines homebound but empowered with a voice and opinion of themselves and their environment. The India Census of 2001 revealed how 21 percent of the women in urban and rural India work. But the portrayal of women now seems to be the same as they were presented in the early days of India cinema, or perhaps even worse. Currently, Indian cinema has been characterized for its enchanting costumes, catchy songs, foreign locations, and outrageous story plots.

Andha kanoon plot