There is no doubt that the notion of male dominance in the Bollywood main character has been broken. Women-centered stories are being made. This trend in conventional cinema has increased over the years. But what is the reason for this? Taapsee Pannu, the heroine of the upcoming women-oriented film “Haseen Dilruba,” recognized three female actors for creating opportunities for women in the industry. Crediting Vidya Balan, Tabu and Priyanka Chopra, Taapsee said, “If I had to pick three names that would make the audience take actresses seriously, I would name Vidya Balan, Tabu and Priyanka Chopra.”
However, in this regard, Taapsee forgot the name of actor Kangana Ranaut, who gave such films as Fashion, Queen, Tanu Weds Manu and Laxmibai. Perhaps Taapsee did this on purpose. But there’s no question that for the reasons she named three names, Kangana deserves on that list as well. However, there is no question in what the actress said. Vidya, Tabu or Priyanka films focused on women prepared not only the producer-directors but also the audience. Many films by the three actresses not only entertained the audience a lot, but also shattered the idea that a movie can succeed at the box office only on the shoulders of a male actor.
If we look at the movies that have become female leads in the last 10-12 years, then many Vinglish movies and Sridevi’s English Mom, Deepika’s Piku Kangana, many other actresses can be counted. Mulk, Naam Shabana, and Pink from Taapsee can be kept at this too. But did Bollywood’s perception of female-oriented movies really change because of three actors or something like that, or were there other reasons behind it?
Whatever the subject of a movie, but the first attraction to it is by the name of the starcast, the banner and the directors. Starcast is very important in Bollywood movies. So much so that the presence of a male superstar in the film is considered a guarantee of success. Even if there is nothing special in the movie, the movies charge the cost. Due to this magic of stardom, for many years, producers have been lining up on the pillars of male stars filling money in the bag. The example of Salman Khan can be seen in the present day.
That Salman is in the movie means a money guarantee for the producers. From Tubelight to Radhe: Your Most Wanted, Salman has created many accidents one after another. But each of his films surprised the business analyst by doing business of more than Rs 100 million at the box office. While many films were so superficial that even today Salman is criticized for it. In all phases of the industry, stardom was only visible to men. From Dilip Kumar-Amitabh Bachchan to Salman Khan-Karthik Aryan, heroines have often been used only for extravagance and masala entertainment. However, in the meantime, there is also the work of two such actresses in the form of Sridevi and Madhuri Dixit, whose status has never been less than a male superstar. They also made some movies where there were female dominated subjects.
The first thing is that Taapsee is right. But the era in which she took the names of heroines is the era of Bollywood revenge and there are more opportunities for actresses than before. If you see, in the last 20-25 years, Bollywood has had the most experimentation in terms of casting and content. Never in the history of conventional cinema have there been so many experiments. This is the period when stories and their performances began to take the place of heroes. By law, credit must be given to those filmmakers who have changed the definition of success with their stories and the way they are told.
Ram Gopal Varma makes a hit movie like Satya with new faces like Manoj Bajpayee. Manoj’s only colic comes in and hits him while he was not starring at the time. These movies worked because of content and word of mouth. Ayushmann Khurrana as an anonymous hero leads to hits like Vicky Donor and Dum Laga Ke Haisha. In movies like Gangs of Wasseypur and Badhaai Ho, there is only one center to the story, but all the characters are so powerful and influential that it becomes difficult to decide who owns the movie and who is the hero of the movie. All films aimed at women have emerged from experiments and new trends in this era. It was good that the actresses made the stories successful by making the stories impressive with the best roles.
By law, content was trustworthy. If Amitabh Bachchan is in the movie then the movie will be fine and if Kanwaljit is the hero of the movie then the movie will be grade C or poor, in fact the use of stories and their themes changed. The success of such one-on-one movies in the past two and a half decades also expressed confidence in the producers. You are ready to make movies on new topics. Even now, the audience has their own points to select the movie in which: Starcast, Banner, Director, and most importantly, the theme and story experiment. Now it does not matter if it is a common film or women. Is there a superstar or not? Many films are passed on by word of mouth. Even if there is no Shahrukh-Salman-Aamir or Hrithik in it, but Sonu Ke Titu Ki Sweety is entertaining, so people have no qualms about Kartik.
If the story is good and worth keeping for two and a half hours, the audience will also see Piku and Pink. But if there is no power in the story and the acting, the audience will also reject the Gulab Gang in the name of a female-oriented film. Actually, actresses have a chance because audiences look for variety in stories. The audience whose choice is no longer a stereotype. You need a new one every time. He doesn’t care that your Sulu leads Vidya Balan and the hero of the “Angrezi Mein Kehte Hain” love story is Sanjay Mishra. Now the audience breaks the language barrier and sees Sairat too.