What Can You Say About This?

This is an analysis of recent representation of an unwed mother in the Bollywood film, Kya Kehna! (Kundan Shah, 2000, future KK). The title, easily into the rhetorical, "What can you say?" has additional significance as a laudatory exclamation point in the direction of the film young heroine. Targeting a younger audience, the film was celebrated as a challenging exploration of female sexuality and empowerment of women. The film in fact reaffirms traditional stereotypes of women in their behaviour is carefully controlled within a patriarchal framework. Despite the unpleasant fact that the main character the state of motherhood is the result of the pre-marriage because of sex, nationalist mechanisms are into the game glorifying the ideal of woman as a mother. Unwed motherhood is not unknown, since a half-page hidden plot of Hindi film, but it is very unusual to find it as the main story focus.

A close textual reading of the KK will be a detailed comparison with an earlier film, which apparently served as Template for future production. Julie (KSSethumadhavan, 1975), is a film that deals with the same issue with a sensitivity unsurpassed in the recent film. Further, placing KK among other simultaneous releases, will show how-even in a film, not the political front, patriotic, religious or nationalist subtexts stories can be found in its dealings with pre-marriage on the grounds of sex, religion, and the staging of its conclusion.

The influences of economic liberalization and increased Hindutva mood in India (and local tensions), and the implications of NRI (Non-Resident Indian) community are all factors that play a role in shaping the current Bollywood ideology And its effects are visible in this film. Finally viewer response and the concept of women "uplift" addressed.

With a national cinema as varied as that in India, it should come as no surprise that a kind of "trend" is proclaimed almost every day. A cursory glance through a stack of old issues of Filmfare, an Indian film magazine, will show an unlimited number of outdated claims that popular film is in the direction of "new" ideological or visual horizons. With the benefit of retrospect, but we can see that most of these trends is a mere Blips in the massive, complex and variable field, the Indian cinema. This paper is a response to an allegation of Anupama Chopra, film critic of the India Today, said that "the Bollywood rules are bent beyond all recognition" because "a new generation of educated, savvy and sassy women are demanding better roles . "1 It is true that, historically, the majority of women's roles in commercial Indian film were selected from a limited selection of formulas, and there were occasional cluster of films that veer away from that standard now and then. Chopra was, in this case that a recent series of films with top billing for women whose characters can be found in unusual situations Hindi film, with sometimes surprising plot twists.

These films have been promoted as a "progressive" in their efforts to address difficult, women-oriented issues such as rape, unwed motherhood, and surrogate pregnancy. In general, the Indian cinema press, including Chopra, has trumpeted these films is an additional "new wave" of issue-oriented movies aimed at women, even though the audience response was more mixed.3 While there seems to be no doubt, that a number of new films are the risks in dealing with taboo subjects until now, it is not the case that the role of women, a new, progressive standard. Chopra himself admits that despite this flood of bold new roles for women, grate part of the popular films still show women as "Eye Candy" and that "politics are largely regressive."

This is an analysis of recent representation of an unwed mother in such a Bollywood film, Kya Kehna! (Kundan Shah, 2000, future KK). The title, easily into the rhetorical, "What can you say?" has additional significance as a laudatory exclamation point in the direction of the film young heroine. In line with the marketing strategy of the film-makers, I decided to paraphrase the title into something more current slang, as follows: "You Go Girl!" Targeting a younger audience, the film was celebrated as a challenging exploration of female sexuality and empowerment of women. I will show that the film is in fact reaffirmed the traditional stereotypes of women in their behaviour is carefully controlled within a patriarchal framework. Despite the unpleasant fact that the main character the state of motherhood is the result of the pre-marriage because of sex, nationalist mechanisms are into the game glorifying the ideal of woman as mother-Mother.

Unwed is not unknown, since a half-page hidden - plot of Hindi film, but it is very unusual to find it as the main narrative focus. A narrow textual reading of the KK will be a detailed comparison with an earlier film, which, I believe, served as a template for future production. Julie (KS Sethumadhavan, 1975), is a film that deals with the same issue with a sensitivity unsurpassed in the recent film. Then, by situating KK among other simultaneous releases, I hope to show how, even in a film, not the political front, patriotic, religious or nationalist subtexts stories can be found in its dealings with premarital sex, religion, and the staging of its conclusion. The influences of economic liberalization and increased Hindutva mood in India (and local tensions), and the implications of NRI (Non-Resident Indian) community are all factors that play a role in shaping the current Bollywood ideology, and its impact visible in this film. Finally, taking into account the audience react, I will briefly on issues of genre and the concept of women "uplift". First, for readers familiar with the Bombay film industry, a brief history of Bollywood cinema is a background against which this current developments on placed.

 

ProVFX Visual Effects and Editing School has been written by Pranay Rupani who is a Freelance Writer

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