How women and their roles have evolved in Bollywood: a timeline

The role of women in Indian society has changed as it did in Bollywood movies. A certain late 1980s film, Biwi Ho Toh Aisi, also Salman Khan's first album, had a matriarch. But unlike a patriarch, she was often called "magroor aurat". Because she had arrogance written down everywhere in her behavior – an exclusive property of machoism.

Even in a movie with a similar name “ Ghar Ho Toh Aisa '', another matriarch must have seen her husband being hit by her sons, and her sons being hit by the world for playing the second violin for women. It was only when a man behaved like a "man" that he was praised for his masculinity.

It was perhaps a period of transient change – more so, a lull – where similar roles were written for women. The period before that belonged to personalities like Waheeda Rahman, Asha Parekh, Sharmila Tagore, Jaya Bachchan, Rekha, Hema Malini, Zeenat Aman, Deepti Naval, Shabana Azmi, Smita Patil and Sri Devi. With powerful actresses like these, the movies didn't need an extra "tadka" of glamor.

It was their eyes that spoke. There is a scene in the climax of & # 39; Aradhana & # 39; where Sharmila Tagore's Vandana realizes that Sooraj already knows that he is her son. She is called on stage and is invited to present her with the medal. Throughout the sequence, her face shines through the layers of makeup – she was forced to put herself on to look old. There is practically no cinégo that does not choke in this scene. This is the power of the "act" of the actress. And probably, the concept in a story.

Whether it's movies like & # 39; Rudaali & # 39 ;, & # 39; Arth & # 39 ;, & # 39; Masoom & # 39 ;, & # 39; Khoon Bhari Maang & # 39; or & # 39; Chandni & # 39;, the actresses of yesteryear have challenged the hero's & # 39; machismo enough – and it takes a lot to say / write this when you then feel (and now megastar) Amitabh Bachchan in the frame.

It was also the age when "maa" played the most important role in the life of a son. Unke paas maa hai, toh sab kuchh hai.

Times have changed, as has the role of women written for Hindi films. The lull – as mentioned earlier – saw a deluge of action movies, and the actresses didn't have much to do in these movies. Even David Dhawan's comedies didn't have much to offer the actresses, leaving them only a little wiggle room to show off their acting prowess. It was only with the emergence of the "young romance" genre that women became an object of desire. They always have been, but the 1990s and early 2000s had a mix of skin show numbers and articles. Most of them were not requested.

Showman Raj Kapoor launched this trend – to present his actresses in a glamorous light. But the blame on his craft, even the scene of the Mandakini stunt never seemed out of place, or "vulgar" in everyday parlance.

The 1990s and early 2000s were the era of actresses designated as the hero's "love interest". And rightly so, because they did it – they loved their hero, and nothing else. There were slaps and ridicule, and by that measure, "Kabir Singh" was a gem.

There were also sparkles of sparkle – but too sporadic for us to remember them very well. Meenakshi Sheshadri, Tabu, Madhuri Dixit, Kajol and others had roles in their respective films which dominated their heroes, but not the concept. The films have not focused on them – except a few like & # 39; Gupt & # 39 ;, & # 39; Dushman & # 39 ;, & # 39; Astitiva & # 39 ;, & # 39; Anjaam & # 39; and others. But the public had not matured then to fully appreciate them.

A special mention to Damini de Sheshadri who, for the first time, did not criticize the men for slamming the patriarchy. A huge step which was also greatly appreciated.

With the emergence of social media, feminism and the empowerment of women have taken center stage in debates and discussions. And at the cinema. So, earlier, when problematic films were praised for the heroic machismo, the post-2009 phase led people to question their societal system.

It was also the phase where the actresses got into the cinema and became screenwriters, directors and producers. Previously, they were also involved in these aspects, but it was the phase where they outperformed their male counterparts. Whether it was “Piku”, “NH10”, “Pari” and others, there were better roles for women. And the actresses played them with all their might.

The likes of & # 39; Highway & # 39 ;, & # 39; Raazi & # 39 ;, & # 39; Queen & # 39; and & # 39; Padmavat & # 39; were centered on women, and did not become another art and essay film. They were hailed as mainstream cinema, and mainly for their superlative content.

The past few years have seen a happier curve for women, as they no longer need a male superstar to invite audiences to theaters. & # 39; Queen & # 39 ;, & # 39; Saand Ki Aankh & # 39; and & # 39; Mulk & # 39; have become a cult just by virtue of the content and roles supported by the author written for women.

This year, "Chhapaak" and "Thappad" are additions to the list where women lead the pack and how! Especially "Thappad" which demystified patriarchy in its own way, like "Damini". But even Daminineeded a Govind to achieve its goal. Amrita in & # 39; Thappad & # 39; is alone. And that's where it wins.

This is the age of Alia Bhatt, Deepika Padukone, Kangana Ranaut, Taapsee Pannu, Bhumi Pednekar, Priyanka Chopra, Anushka Sharma, Vidya Balan and Kriti Sanon, who don't think before taking on a role difficult. This is the time when all kinds of films are made. And women have a special role in each of them.

Women are told not to underestimate themselves – that they are not men's second violin. And these concepts are appreciated – be it "Queen", "Nil Batey Sannata" and "Engligh Vinglish".

Filmmakers like Zoya Akhtar, Meghna Gulzar, Ashwini Iyer Tiwari, Ekta Kapoorand Nandita Das; and the writers Juhi Chaturvedi and Kanika Dhillon broke the glass ceiling when it comes to governing the sets.

And this is also the time when problematic films like & # 39; Kabir Singh & # 39; are called – a result of the #MeToo movement – and on a much larger scale. They are also being watched. But being called is also a big step forward in demystifying the patriarchal blockages that have paralyzed Indian cinema.

Much has changed and much needs to be improved. Indian cinema, by this measure, is on the road to recovery. He now makes films whose concept is the hero. And the starcast like heroin. Toxic masculinity is denounced and patriarchy is demystified. The process has been gradual and should continue.

The only wish that remains now – is to see two top actresses share the picture in a multi-crore movie and do a kickass action. Without male superstar. Do the filmmakers read?