She has been demure, submissive; bold, beautiful; sexy, flirtatious; and daring. She has also been holier-than-thou and sometimes, also a mermaid — Bollywood, in it’s over 100 years of existence, has been a board of a several shades of a woman. But here’s a new colour — a Kangana Ranaut of “Queen” and a Alia Bhatt of ‘Highway’ — free-spirited and vital life on their terms, many like immature contemporary Indian women today.
I’m amatory it!
The opinion — vociferous, uninhibited, opinionated, free-willed and individualist — is so easy to welcome and tumble in adore with. It’s roughly as if a country’s umpteen women, subjugated by amicable conformity, men, family and environment, have found a partial of themselves dark in some dilemma of these characters who recognize their path, emanate it, follow it and afterwards emerge with drifting colours.
Take a dekko during Kangana’s Rani of “Queen” — she leads a simple, stable life like any other middle-class lady in Delhi’s Rajouri Garden, or largely, opposite India; dates a male who doesn’t let her dance her heart out even if she loves to, and isn’t gentle with a thought of carrying a operative lady as his wife.
Rani adjusts — something that many ‘bharatiya naaris’ would do. But she comes into her possess when her fiance calls off a wedding, and she announces to her relatives that she wouldn’t suffer and would instead embark on her honeymoon to Paris and Amsterdam — alone. She survives, enjoys herself, and finds out how there is some-more to life than carrying to settle down with a male who doesn’t caring about your dreams and desires.
Ditto with “Highway”. But distinct Kangana’s Rani, Alia’s impression Veera is abounding and well-travelled. Yet, she feels something astray and a float on a highway brings fun to her life.
Her fiance, scared, tries to quell her desire, though here’s Bollywood’s new ‘I’ll do what we want’ and ‘I’ll make we do what we want’ form of heroine, who chooses to follow her dreams.
When she gets kidnapped, what follows is a tour of self-realisation for Veera, who happens to know that ‘travelling’ is not about going adult and down in a lift of a hotel, that life is not about festive amicable gatherings and she soaks in a joys of being in hold with inlet and reality.
Examples of “free-spirited” women in Bollywood cinema might still be few and intermittent, though a trend is here to stay.
Katrina Kaif of “Zindagi Na Milegi Dobara”, Deepika Padukone of “Yeh Jawaani Hai Deewani” and “Goliyon Ki Raasleela Ram-Leela”, Sonam Kapoor of “Raanjhanaa”, Parineeti Chopra of “Shuddh Desi Romance” and “Hasee Toh Phasee”, Sridevi of “English Vinglish” and a girls in “Chak De! India” — they all simulate a new age women who know what they wish from life.
Deepika’s “Yeh Jawaani” impression gave voice to a enterprise of a immature college-goer to pierce out of a comfort of her residence and pitch her fat books to try life and see how her celebrity improves when she stairs out of her mental stereotypes. Sridevi’s quip purpose as a prime housewife in “English Vinglish” valid that once a lady decides to do something, she does it successfully and age poses no bar.
Even Katrina’s “Zindagi Na” impression believes in seizing a impulse and creation a many of life instead of using after a conventional.
Parineeti, as a somewhat individualist impression in “Hasee Toh Phasee”, does what she wants — irrespective of either or not it fits into her family’s normal intrigue of things.
These women voiced a grit, integrity and unassailable will to live life their way.
It’s a fun examination such appreciative and honest portrayals of women on screen. These characters uncover that if let loose, women can pierce so many over society’s ‘acceptable’ limits.
In a genuine world, women are gradually reaping a advantages of creation their possess choices — be it about career, marriage, relationships, family or vocation.
So do us a foster dear people around us — let your daughter, sister, mom and mom have a life of their own. Let them loose!