Movie Thematic Analysis 1

A Thematic Analysis of the 'Corporate' Lady movie

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Movie Thematic Analysis 2

Radhe Chakraborty is a research scientist at Dibrugarh University's School of

Communication Studies in Chandigarh. Professional, a 2006 film directed by Madhur

Bhandarkar, depicts the corporate industry's deception and sneakiness. As even the film begins,

the lady heroine Bipasha Basu, whom plays a crucial position in one of the rival FMCG

businesses, is shown as a brilliant executive with a lively demeanor. However, as the film nears

its conclusion, the filmmaker, in an attempt to show how sex and intrigues are exploited to ruin

rivals' image, locks the female heroine in the conventional emotional net. The fragile aspect of

her character is eventually shown. She eventually becomes a pawn there in hands of masculine

characters posing as tycoons. Dada Saheb Phalke, widely regarded as the pioneer of Hindi

cinema, premiered his picture "Raja Harish Shankar" in 1913. The movie was also Taiwan's first

entire new film. D. D. Dabke portrayed the male role, while Anna Likewise be viewed, some

other male actor, performed the lead role. Women actresses were also not current at the time.

Later, Devika Rani, who spent the majority of her education and upbringing in Europe, was

convinced to operate with her partner Himanshu Rai in the 1933 film "Karma." She is also

referred to as the "First Lady of Indian Cinema." Following that, various female characters like

as Mehtab, Shobhana Samarth, and Zubeidaa appeared, accompanied by Suraiya, Meera Kumari,

Non - regular, Madhubala, Nootan, as well as many other women of content.

Women's difficulties were addressed in films such as Alam Ara, Achhut Kanya, Andhi,

Arth, and others. Mother India, a well-known film in this genre, pulled the woman out from the

cooking. Many considered this to be the genesis of the working lady in Hindi films. In India,

there has been a good shift in the roles played by women through films. Female protagonists in

cinema had already matured and gained a stronger position as mothers, wives, daughters, sisters,

and even friends. According to historian E. O. Cousins, as stated by Sumita Chakravarty (2011)
Movie Thematic Analysis 3

in her book, "the ultimate expression of the parent has gained a good height in Bengal than

anyplace else." This is the exciting portion of the narrative that this article intends to tell.

According to Remedios (2007), "the rigorous physical as well as psychical violence experienced

by employing women who are victims of landlords, neighbors, and policeman is the embodiment

of a mix of local sexist and colonial beliefs that unambiguously place the females in house."

Inkaar, a 2013 film, includes a discussion of sexual harassment from a completely different

angle. There are numerous additional films, such as "Damini," that discuss sexual crimes in

society. Nevertheless, in "Zindagi Na Milegi Dobara," several of the chief women are depicted as

comprehensive professionals at first, so as the story develops, the chairman, who also is a

female, caves in and typically female attributes emerge and eventually overpower, as the plot

goes towards the close.

Language of the body

The female protagonist, Nishigandha Dasgupta or Nishi (Bipasha Basu), is shown as a

confident, cheerful, and capable corporate executive when the film begins. She may be seen on

the video exiting a white luxury automobile and proudly entering her workplace building by

elevator. Later in the novel, as the plot progresses, all of this changes dramatically, and all of her

loyalty, hard work, and ability are dismissed. When admonished by higher authority, everyone,

regardless of gender, exhibits common sentiments. However, it is clear that she was misled and

coerced into positions that she did not deserve.

Attire

Nishi is portrayed in practically every scene at the beginning to be well-dressed. She has

closed several profitable agreements for her firm, demonstrating her competence and loyalty.
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More aspects of Nishi are exposed as the film progresses. She is astute and understands how to

deal with her adversaries. She is concerned about her colleagues and her partner. And because

her character's concern and devotion is portrayed as a weakness, the traditional fragile picture of

a lady takes shape.

Character

She is never in the driver's seat there in film, save when she notifies her employer about

the achievement of her state meeting to Singaporean. Much of the while, male actors surrounding

her are now more dominant. She makes sacrifices for both her relationships and her company.

She is oppressed, if not stupid.

Nature

As the film begins, she is seen to be overly ambitious. Her chat with the new recruit girl

exemplifies her ambitious demeanor as well as her effectiveness. Her ardent spirit, boldness, and

outward strength of character fade when she faces problems in her career and life. As a result,

she is broken and dejected towards the end.

Perspective on life

Nishigandha works as a corporate specialist. She has a calm, collected, and neat

demeanor. Because of her level and standing in her firm, this is to be recognized and appreciated.

To achieve that level and garner such recognition at work, one must be idealistic and colorful,

and Nishi possessed both of these qualities. Her manner in the office, as well as how she is

treated and viewed by her employees and colleagues, demonstrates this. So such a person is

never easily swayed. Her male colleague is portrayed as a weak and ineffective businessman.
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Nonetheless, she appears to be controlled by him much of the time. As a result, her confidence

and outlook on life are shaky.

Conclusion

There was a chance for the film's creators to shatter the norm and give the female heroine

at least somewhat power. She might be able to exert some control, interactions, and hardships.

Such a guy with immense potential for domination but was deprived of it. The video begins with

a fairly good representation of the women, but by the conclusion, the caricature arises and grabs

the powerful lady and transforms her further into ordinary cinema female figure. She became

weaker, unsure of oneself, her actions, and her connections, and as a result, she breaks her

friendships, is deceived, and becomes a target for the huge corporations to whom she was once

very loyal.
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References

Chakravarty, S. S. (2011). National identity in Indian popular cinema, 1947-1987.

University of Texas Press.

Datta, S. (2000). Globalisation and representations of women in Indian cinema.Social

Scientist, 71-82.

Misra, L. (Ed.). (1992). Women's Issues: An Indian Perspective. Northern Book Centre.

Nandakumar, S. (2011). The Stereotypical Portrayal of Women in Commercial Indian

Cinema (Doctoral dissertation, University of Houston).

Remedios, K. R. (2007). Working Women, Re-working Space: Representations of

Women's Workplaces in Contemporary Indian Writing in English. ProQuest.

Schwandt, T. A. (Ed.). (2007). The Sage dictionary of qualitative inquiry. Sage.

Shoesmith, B. (1988). Swadeshi cinema: Cinema, politics and culture: The writings of

DG Phalke. Continuum: Journal of Media & Cultural Studies, 2(1), 44-50.