Imtiaz Ali’s Sejal sets off on a journey to achieve a socially acceptable level of fuckability and ultimately becomes an extremely worrying case of self-objectification.
Bollywood, much like the government, has fed us an idea of nationhood that is so much bigger than ourselves, most of us tend to struggle to understand our place in it. Swades showed us an alternate version. In Mohan Bhargava, it gave us a deshbhakt we could imagine ourselves being, some day.
Hindi cinema hasn’t completely disregarded the need for healthy male leads. Toxic protagonists are still seen as rule breakers – as underdogs who can win against the system and evoke sympathy. But a handful of films, like Mujhe Kucch Kehna Hai, October, and even Muqaddar Ka Sikandar have tried to change that.
Badrinath Ki Dulhania struggles to recreate DDLJ, riding on the Varun-Alia chemistry. But it’s impossible to doff your hat to a classic with a hero with a major character flaw.
Like Veer and Zaara’s love story, the movie’s music stands the test of time. “Main Yahaan Hoon” became the ballad for an entire generation. Fifteen years on, it makes us pine for eternal love even when we find ourselves in an age where regularly liking someone’s Instagram posts is the zenith of commitment.
Twenty years ago, Phir Bhi Dil Hai Hindustani that starred Shah Rukh Khan and Juhi Chawla, featured a news channel that toed the government’s narrative and paid goons hired by a politician to orchestrate riots. It ends on a positive note where codes of democracy are honoured and protestors usher in a change. Today, as the entire country protests against the CAA-NRC, the film’s subtext has never been more relevant.
Shah Rukh Khan is looking forward to capping off the year with Anand L Rai’s Zero. But in an age when Bollywood seems to have found new King Ks – in Vicky Kaushal and Ayushmann Khurrana – is the original King Khan’s dominance over our hearts and screens under threat?
No film in the ’90s had a woman character whose first “no” was accepted – instead her consent was treated as a challenge by the hero. But in a year when #MeToo ruled our cultural consciousness, will that old idea of what a Bollywood hero is supposed to be, change?