Unseen Bruises of Women

Violence in Indian Cinema

Subject Code: - RUAPOL605

TYBA
SEMESTER – VI
(2023-24)

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3518 Diksha R Kachare 9372880475
Romanticization of Women Harassment in Indian Cinema

Abstract :
The Unseen Bruises: Violence against Women in Hindi Cinema
Meraj Ahm
ABSTRACT
Like all the other forms of arts, cinema is also a kind of visual art where a team
of people combine to
produce the masterpiece in the form of a movie. Several themes and plots are
dealt within cinema,
including mythology, fantasy, tragedy, comedy, and so on. This research
paper will focus on the
movies produced in the Hindi cinema and how violence against women has
been shown through some
of the movies which have changed the previous stereotypical themes.
Violence against women has always been considered as something physical but
when it comes to
subjugation of women, it can be seen in terms of different levels with
varying degrees of cruelty.
From the past few years, movies have started to delve deeper into the human
psyche and extract some
of the answers that were unfathomable until now. The characters in the Hindi
movies are now not only
just ‘black’ or ‘white’, they are also sometimes ‘grey’. Moreover, a man is
not only shown bad
because of him being physically aggressive but sometimes his mental torture
also plays an important
role in the suppression of women around him.
This paper will deal with three of such Hindi movies, including English
Vinglish
(2012), Highway
(2014), and Dil Dhadakne Do (2015), where no physical violence is shown
between the male and the
female but yet their relationship shows how the male subjugates his female
counterpart
Like all the other forms of arts, cinema is also a kind of visual art where a team
of people combine to
produce the masterpiece in the form of a movie. Several themes and plots are
dealt within cinema,
including mythology, fantasy, tragedy, comedy, and so on. This research
paper will focus on the
movies produced in the Hindi cinema and how violence against women has
been shown through some
of the movies which have changed the previous stereotypical themes.
Violence against women has always been considered as something physical but
when it comes to
subjugation of women, it can be seen in terms of different levels with
varying degrees of cruelty.
From the past few years, movies have started to delve deeper into the human
psyche and extract some
of the answers that were unfathomable until now. The
Like all the other forms of arts, cinema is also a kind of visual art where a team
of people combine to
produce the masterpiece in the form of a movie. Several themes and plots are
dealt within cinema,
including mythology, fantasy, tragedy, comedy, and so on. This research
paper will focus on the
movies produced in the Hindi cinema and how violence against women has
been shown through some
of the movies which have changed the previous stereotypical themes.
Violence against women has always been considered as something physical but
when it comes to
subjugation of women, it can be seen in terms of different levels with
varying degrees of cruelty.
From the past few years, movies have started to delve deeper into the human
psyche and extract some
of the answers that were unfathomable until now. The
A recent analysis of the popular Indian movies showed that the representation of
women in
the Indian cinema has remained unchanged in the last 70 years. The stereotypes
of mothers,
daughters, widows, and daughters-in-law are the same in the 2010s as these
were in the
1950s. The only exception is the depiction of ‘the other women', i.e., a vamp, a
courtesan, a
dancing girl, or a woman of ill repute. Bad girls have become worse. They are
no longer the
passive victims; they have become active violent avengers. Such women also
appear as the
main characters in the films rather than the pretty trappings, or as material for
subplots. While
women are gaining a more equitable status in Indian society, the recent Indian
films have
become more violent towards the female characters. The sexualization of
women in a new
genre of Indian movie songs – the “item song” that shows women in vulnerable
situations
where they are likely to be violated by gangs of males. The filmmakers
argue that films
merely mirror a common occurrence in India – gang rape, and public
humiliation of women.
The author calls for a more responsible stance from the filmmakers towards the
exploitation
of women.
A recent analysis of the popular Indian movies showed that the representation of
women in
the Indian cinema has remained unchanged in the last 70 years. The stereotypes
of mothers,
daughters, widows, and daughters-in-law are the same in the 2010s as
these were in the
1950s. The only exception is the depiction of ‘the other women', i.e., a vamp, a
courtesan, a
dancing girl, or a woman of ill repute. Bad girls have become worse. They are
no longer the
passive victims; they have become active violent avengers. Such women also
appear as the
main characters in the films rather than the pretty trappings, or as material for
subplots. While
women are gaining a more equitable status in Indian society, the recent
Indian films have
become more violent towards the female characters. The sexualization of
women in a new
genre of Indian movie songs – the “item song” that shows women in vulnerable
situations
where they are likely to be violated by gangs of males. The filmmakers
argue that films
merely mirror a common occurrence in India – gang rape, and public
humiliation of women.
The author calls for a more responsible stance from the filmmakers towards the
exploitation
of women.
Similar to various other art forms, cinema can be regarded as a visual art form
that involves a collaborative effort of individuals working together to create a
masterpiece in the form of a movie. Within the realm of cinema, a diverse array
of themes and plots are explored, ranging from mythology and fantasy to
tragedy and comedy. This research paper aims to delve into Hindi cinema,
specifically examining how certain movies have addressed the issue of violence
against women, challenging and transforming the stereotypical themes that were
prevalent in the past.

The concept of violence against women has traditionally been associated with
physical harm, but the subjugation of women can manifest at various levels,
displaying different degrees of cruelty. In recent years, films have taken a more
profound exploration of the human psyche, unraveling answers that were
previously elusive. Characters in Hindi movies are no longer confined to being
simply 'good' or 'bad'; they now often embody shades of 'grey.' Furthermore, the
portrayal of a man as negative is not solely based on physical aggression;
mental torment also plays a significant role in the suppression of women in
these narratives.

This paper will deal with three of such Hindi movies, including English
Vinglish (2012), and Dil Dhadakne Do (2015) & Darlings (2022) .

Like all the other forms of arts, cinema is also a kind of visual art where a team
of people combine to
produce the masterpiece in the form of a movie. Several themes and plots are
dealt within cinema,
including mythology, fantasy, tragedy, comedy, and so on. This research
paper will focus on the
movies produced in the Hindi cinema and how violence against women has
been shown through some
of the movies which have changed the previous stereotypical themes
Keywords: Bollywood Cinema; Exploitation of the Female Body; Female
Objectification in Cinema;
Introduction :

India has witnessed significant progress in education, infrastructure

development, foreign investments, and GDP growth over the past five decades.
Despite these accomplishments, the benefits are unevenly distributed, with a
substantial portion of the population still experiencing poverty and inadequate
access to healthcare, education, and employment opportunities. The prevalence
of crime and corruption remains a significant challenge. While strides have been
made in providing education and professional opportunities for women, there
has been a disturbing rise in crimes against women and children.

A BBC news report (2017) claimed that every 15 minutes, a child is sexually
abused in India. The abusers, often are, the parents, relatives, and
schoolteachers. Since people are reluctant to discuss or report cases of rape and
sexual abuse, the actual numbers may be much higher (Mallapur, 2017).

The theme of domestic violence and physical abuse has been shown on the
silver screen through Hindi and other regional movies in the past but as the new
millennium has dawned upon the Hindi cinema, the thematic structure and the
treatment of the story has drastically changed. The reason for such a change can
be the entry of a batch of fresh directors who wanted to show something
different to the viewers and also can be credited to the mind-set of the new
generation who knew how to read between the lines through symbolic scenes.

This research paper will discuss some of the unseen violence and their effects
on the relationships as shown in some of the contemporary Hindi movies. The
paper will talk about three of such Hindi films and how domestic violence is
shown without giving any glimpse of physical violence in the movies.
RESEARCH QUESTIONS

Similar to other public domains, the film industry has traditionally been male-
dominated, with women often receiving less prominence compared to their male
counterparts. However, there have been instances when Hindi filmmakers
openly discussed and analysed issues and challenges faced by women. In recent
years, a wave of feminism has permeated various aspects of society, including
the Hindi film industry. This research paper aims to explore crucial questions
related to domestic violence and its repercussions.

1. Is Domestic violence limited to physical harm and brutality towards

women?
2. In what ways can domestic violence remain unnoticed or concealed?
3. To what extent does mental health contribute to the dynamics of
violence against women?

RESEARCH METHODOLOGY

The methodology employed in this paper adopts an analytical approach. The

researcher utilizes existing facts and information, subjecting them to critical
evaluation in order to draw conclusions about the topic at hand, which is a
selection of movies. Specifically focusing on contemporary Hindi cinema, the
analysis is conducted individually for each movie, considering the depiction of
female characters and the portrayal of domestic violence against them. The
assessment involves a critical examination of the movies, taking into
consideration the techniques employed to present characters and their
significance in the narrative.
English Vinglish (2012)

Gauri Shinde’s movie depicted a powerful role of a middle-class female who

was married, had two kids, but was still suffering from low self-esteem and had
no self-confidence. Not in a single scene any act of physical violence is shown
in the movie still the character of Shashi can be said to have been facing
domestic violence within her home. Although, she was seen having a very
understanding mother-in-law, her husband was always teasing her for being an
illiterate along with their elder daughter who was embarrassed of her mother
because she did not know English language.

The movie showed Shashi being an entrepreneur as she makes and delivers
home-made sweets (laddoos), still her efforts were never appreciated or even
acknowledged by her husband. In one of the scenes in the movie, her husband
even teased her in front of some guests by saying that “She is born to make
laddoos.” He wanted to degrade her position in front of everyone by firstly,
calling her just a useless person who can do nothing else than make laddoos,
and secondly, by speaking in a language she did not understand to make her feel
inferior. Such incidences when happens in a house where one person is made to
feel insecure and inferior on purpose can be easily said to have a negative effect
on the mental well-being on the person. The psychological effects of such
incidences can be long-term and harmful for the person. Hence, the domestic
violence here cannot be physically seen but only psychologically understood
and felt.

Dil Dhadakne Do (2015)

Zoya Akhtar made a movie that had four main characters who belonged to a
single family and who had different needs and issues in life. In the family, the
elder daughter Ayesha was married to Manav and had a rough equation between
them. Though no kind of physical violence or argument is shown in the movie,
a kind of an unexplained rift and uncomfortableness can be seen between the
couple. There was a scene when both the families of Ayesha and Manav were
sitting to resolve the issue of their marriage, the best possible solution they
could offer was that of motherhood. So eventually, motherhood is the solution
to all the female problems. Once a female is a mother, she will have no time to
concentrate on other issues than the upbringing of the baby, hence, problem
solved.

Of course every family has issues, no marriage is perfect, and compromises

have to be made but why is that females are the only ones that have to be tamed
by making them stay at home and take care of everyone? Why does the society
make them the ‘second sex’? Simone de Beauvoir had explained in her book
The Second Sex that marriage “almost always destroys woman”. She pointed out
several inequalities between a wife and husband and said, “What makes the lot
of the wife-servant ungratifying is the division of labour that dooms her wholly
to the general and inessential”.

Therefore, in this movie, the domestic violence was not visible, yet it could be
sensed through the projection of the characters of Ayesha and Manav, and how
both of them were uncomfortably living under the same roof having indifferent
feelings for one another only to lie to the society about living a healthy married
life.

Darlings (2022)

Badrunissa Shaikh aka Badru (Bhatt) is smitten by roadside Romeo Hamza

Shaikh (Vijay Varma), and marries him as soon as he secures himself a
government job. Cut to three years later and life after marriage, we see Bhatt
getting beaten up every night for a new reason every time. Sometimes it's a
kankar in the food, sometimes just because she sat in a colony meeting without
the husband's consent. And once because he thinks she's having an affair. The
intensity of abuse gets disturbing and more intense with each day, until one day
when Badru decides to stand up and take charge. From that point, Darlings
shows how a middle-class mother-daughter duo (Shah and Bhatt), who is caught
in their own circumstantial hang-ups, gradually discovers their inner strength to
survive in a city like Mumbai, battling all odds. The husband is an alcoholic
who holds no remorse for assaulting his wife every night, the wife is head over
heels in love with the man and doesn't mind cooking breakfast — the staple bun
omelette — every morning for him with bruises all over — this may be a
regular occurrence in many Indian households, but rarely gets talked about the
way it should. Picking a subject like domestic violence for a dark comedy isn't
ideal, but Darlings, starring Alia Bhatt & Shefali shah and Vijay Varma,
manages to hit the nail on the head

Conclusions :

All these three movies were just a few examples of such unseen domestic
violence that is prevalent in our society. Movies, however, can be said to have
been a reflection of the society or the community to which they belong. In this
case, Hindi movies tell a lot about our Indian society and how sometimes in
order to fake a healthy relationship we forget to actually understand the
meaning of being happy and making others happy.

Movies on physical domestic violence are several in numbers, but from V.

Shanta ram’s Dahej (1952) to Rakesh Roshan’s Khoon Bhari Maang (1988) to
Mohit Suri’s latest Humari Adhuri Kahaani (2015), physical violence have
always been portrayed in Hindi cinema where the audience can easily relate to
the characters and their feelings. However, it is movies like the ones that the
paper has discussed, where the message is subtly given through the nuances of
the direction and still the audience vicariously sense the helplessness and the
vulnerability of the female characters.

Where physical violence can be easily detected and solutions can be offered,
psychological or mental violence can be unseen and hard to detect, let alone
offering a solution. Hence, it is very important to make sure a relationship is not
only looking healthy but is also having a happy aura around it. Because the
wounds of a physical cruelty can be healed easily but a mental agony can be
very hard to heal or even noticeably perceived.

References :

1. https://en.wikipedia.org/wiki/The_Second_Sex
2. https://en.wikipedia.org/wiki/English_Vinglish
3. https://en.wikipedia.org/wiki/Dil_Dhadakne_Do
4. http://www.rediff.com/movies/column/the-hidden-lessons-of-dil-dhadakne-do/
20150610.htm
5. ResearchGate