HAPPY NEW YEAR!
Why is the role of women in Bollywood movies inferior to the Male role? Bollywood is the moniker for the Hindi film industry in India. The films released out of Bollywood are encircled around the male character. This paper is intended to research the reason behind the aforementioned trend. This paper will examine whether the Male Dominance, in the film making process a product of culture or a business decision. The movie Happy New Year would be used to examine the extent to which the Male Character is the basis of Hindi Indian Film Industry. Happy New Year is an Indian movie released in 2014. It belongs to the action comedy Indian film genre. The movie is directed by Farah Khan (a well-known female movie director) and produced by Gauri Khan (female producer, wife of lead male actor Shahrukh Khan). Even though the movie’s producer and director are females the movies theme is largely based on the lead main character Charlie. Charlie is played by non-other than the mighty well known king of Bollywood Shahrukh Khan.  Shahrukh Khan is one actor that is not only praised for his acting but has a Divine status which leads to the title of King as mentioned earlier. He is the prime example of how Bollywood movies are successful only due to the Male Characters presence. Movies no matter what the ratings earn in the millions just by the Kings presence. All other characters specially the women are just incidental. However it is important to note that in addition to being incidental the women character is viewed as an object, only there to further the male roles purpose, and either very good or awry. According to a book by Steve Derne Men in India are attracted to Hindi films partly because of their attraction to depictions of modern lifestyles. Dern argues that films help men handle their ambivalence about modernity by rooting their sense of Indianness in women's acceptance of traditional food habits, clothing, and gender subordination.  Happy New Year produced in 2014 with the presence of Female administrators isn’t any different than the stereo typical lead Male Dominated Indian Movie. The movies purpose is to further Charlie (Shahrukh Khan’s) purpose and plan. The movie has other character played by mid-level Indian stars, whose presence is only to further Charlie’s plan. The girl however has the least important role as described by Charlie to be there only to further their plan by teaching them how to dance, which they intend to only use to get to the destination. The girl Mohini, played by a well-known Hindi Indian Actress Deepika Padukone, who’s known to demand respect for women.  However, here the only thing Deepika could expect is a role no matter how miniscule next to the King of Bollywood. Mohini is shown here as an incidental entry in to the main plot due to many failed attempts of finding the suitable choreographer for a team being prepared to pull off a major heist to take revenge for the Smart, Handsome, Tough, and Slick lead character played by Charlie. The narratives of Hindi cinema have undoubtedly been male dominated and male centric.  Since the paper discusses the dominance of the lead character plus the incidental, objectivized, and trifling role of the female character, it is irrelevant to even mention the other character. First of all it is important to realize that the other characters are only followers of the leads command and secondly they treat the women as a subject described by their master. The first statement shows the domination of the lead role while the latter examines the status given to the women character. The movie is centered on Shahrukh Khan’s dominance, he is shown as the Smart and Tough guy who is making a living as an underground fighter, waiting to reclaim his father’s legacy and honor. Charlie (Shahrukh Khan) is living to bring a person who framed his father into an embezzlement scheme to justice. The dominance of King Khan in the movie is portrayed not only by...
References: 10. Genesis, Second Edition (Readings: A New Biblical Commentary) Paperback – August 11, 2009 (pg 20) by Laurence A. Turner
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