Feminism in Bollywood: Dissecting the “Abla-Nari” Trope

Learning Outcomes:

Introduction

Immersed in the vibrancy of Bollywood, the world’s second-largest film industry, one cannot ignore its powerful influence as an integral thread in India’s rich cultural fabric. For over a hundred years, Bollywood has offered its unique brand of entertainment, a mirror reflecting and often shaping societal and cultural dynamics within India. Central to this cinematic tapestry is the portrayal of women, specifically through the lens of the ‘Abla Naari’ or ‘helpless woman’ archetype.
Credits: Apoorva Jyoti, Graphics Head at Mandon
The ‘Abla Naari’ trope traditionally characterises women as submissive, emotional, and reliant on male figures for their protection and redemption. This portrayal has a profound influence on societal perceptions of women, embedding narratives of dependence and passivity into public consciousness. However, cinema, like society, evolves and mirrors progressive ideas. The infusion of feminist themes into Bollywood films signifies a critical departure from the stereotypical ‘Abla Naari’ image towards more multifaceted and empowered depictions of women.
This article explores the evolution of the ‘Abla Naari’ archetype in Bollywood, its societal repercussions, and its interplay with gradually surfacing feminist themes. This study provides valuable insight into the convergence of popular culture and social norms within the context of India’s prolific cinematic landscape (Kishwar, 1995).

The Origins and Evolution of the 'Abla Naari' Trope

Bollywood’s portrayal of women in its nascent years was largely guided by the ‘Abla Naari’, or the helpless woman, trope. This archetype finds its roots in iconic films such as “Mother India” (1957) by director Mehboob Khan. The film’s protagonist, Radha, personifies the ‘Abla Naari’, a resilient woman who stoically withstands adversities yet remains inevitably tethered to her traditional role as a caregiver, thereby reinforcing societal expectations. This narrative, which depicted women mainly as domestic beings in need of male guardianship (Kabir, 2001), was further entrenched in films like “Pakeezah” (1972).
As India encountered extensive transformations spurred by globalisation, the cinematic portrayal of women followed suit. However, these transformations require more nuanced analysis. While movies like “English Vinglish” (2012) and “Kahaani” (2012) disrupted the traditional ‘Abla Naari’ archetype by showcasing strong, independent women steering their narratives, one must probe whether these transformations are genuinely fostering equality or merely reproducing patriarchy in a new form.
The globalization-induced shift in Bollywood’s narrative raises essential questions. Has it enabled filmmakers and audiences to understand and acknowledge their social responsibilities, or has it merely given birth to new popular tropes? The ’empowered woman’ trope, while seemingly progressive, might still be rooted in the male gaze and serve as fodder for capitalist and commercial gains rather than consciousness-raising. Essentially, are we seeing the empowerment of women as characters, or are we witnessing a subtle reproduction of patriarchal structures through a commercialized form of ’empowerment’?
Consider the film “Mardaani” (2014), for instance. While it showcases a strong female lead in a traditionally male-dominated genre, the film’s dynamics also merit critical analysis from the perspectives of the male gaze, capitalist interests, and potential reproduction of patriarchal norms. Thus, while Bollywood’s portrayal of women has indeed evolved over the years, the question remains whether this evolution represents genuine progress toward gender equality, or a subtler form of patriarchal reinforcement cloaked in the guise of empowerment.

The Impact of the 'Abla Naari' Trope on Society

The impact of the ‘Abla Naari’ trope extends well beyond the confines of cinema, playing a pivotal role in moulding societal perceptions of women in India. As noted by Dewey (2008), the creation of a ‘parallel public sphere’ through film has significantly moulded gender role expectations, fortifying patriarchal norms and stereotypes. Given the influential nature of cinema as a form of mass communication in India, perpetuating the ‘Abla Naari’ image serves to fortify the perception of women as weaker, submissive entities, reliant on male figures for protection and sustenance.

The continual depiction of women in these vulnerable roles, perpetually on the receiving end of injustice and in need of salvation, ingrains a regressive and limited view of womanhood in the Indian psyche.

It curtails advancements in women’s empowerment, conditioning both women and men to regard these distorted stereotypes as societal norms (Basu, 2018). Conversely, the continued reliance on the ‘Abla Naari’ trope encourages a paternalistic attitude within society, further solidifying a patriarchal framework where women are viewed more as entities requiring protection than as equal counterparts.
However, as the trope evolves, societal perceptions follow suit. Films challenging the traditional ‘Abla Naari’ image are beginning to influence audiences, prompting them to question established norms and spark discussions about gender roles and equality. Consequently, the shifting portrayal of women in cinema has emerged as a vital catalyst in transforming India’s societal landscape, progressively moving away from the shackles of the ‘Abla Naari’ image.

The Emergence of Feminist Themes in Bollywood

With the dawn of the new millennium, India experienced a cultural shift that blew a refreshing gust of change through Bollywood’s portrayal of women. The introduction of feminist themes into the cinematic sphere significantly challenged and disrupted the traditional ‘Abla Naari’ trope.
The early 2000s witnessed films like “Lajja” (2001) and “Chandni Bar” (2001) where filmmakers started scrutinising women’s position in Indian society more critically. These films marked the commencement of an era where female characters transcended their previous roles as mere embodiments of virtue and sacrifice.
However, one must ask, are these empowered women truly agents in their own stories? And importantly, who is crafting these narratives? Are Indian men, who still dominate the Hindi film industry, capable of accurately depicting and exploring the complexities of the female experience and agency? Or are they simply perpetuating their own perception of agency that may not resonate with all Indian women?
These films started addressing real-life issues faced by women, such as domestic violence and sexual exploitation, while promoting women’s agency, self-determination, and equality. But does this representation align with the idea of agency as perceived and desired by Indian women themselves?
A watershed moment arrived with the film “Queen” (2014) which glorified a journey of self-discovery and independence, challenging the conservative barriers holding women back. However, we need to question whether this depiction genuinely reflects the rawness, depth and accuracy of a woman’s journey, or if it only serves as a superficial portrayal shaped by the male gaze.
It is here that feminist film theory, with its concepts of the male gaze and the female gaze, becomes crucial. The male gaze constructs women as objects of male pleasure, while the female gaze offers a perspective that arises from the lived experiences of women. The question then arises: do we need more women writing and directing to introduce the female gaze in Bollywood, offering a more authentic representation of female agency?
Films like “Pink” (2016), “Dangal” (2016), and “Lipstick Under My Burkha” (2016) began sculpting a new narrative that revolved around empowered women characterised by agency, strength, and resilience. But how much of this empowerment is truly reflective of the diverse experiences of Indian women, and how much is merely a projection of male perceptions and expectations?

The interplay between the 'Abla Naari' trope and feminist themes isn't straightforward. It is a layered, nuanced relationship, reflecting the tensions, contradictions, and gradual transformations of a society in flux.

It encapsulates the ongoing struggle between traditional norms and progressive ideals, offering a multifaceted depiction of women that simultaneously challenges and acknowledges the intricacies of the Indian female experience. Yet, the question remains whether those who have not lived as women can truly understand and depict these complexities in a nuanced way.
Each feminist-themed film adds to the cinematic landscape as a platform to question, critique, and progressively dismantle the patriarchal norms that have dominated for decades, shaping a new narrative for Indian women. However, the effectiveness and authenticity of these narratives depend on who is telling these stories, prompting a call for more diverse voices and perspectives in Indian cinema (Kishwar, 1995; Basu, 2018).

Conclusion

Bollywood, being among the world’s most potent film industries, has the unique ability to both reflect and shape societal perceptions. The industry’s transition from the ‘Abla Naari’ trope to the integration of feminist themes signals a vital shift in the narrative surrounding women. However, this journey is far from its conclusion. The trope continues to resurface, albeit less frequently, suggesting that the process of change is not an abrupt shift but a steady, ongoing progression.
For a more balanced representation of women, the industry must strive for diversity and intricacy in its portrayal of female characters. This means refraining from binary depictions—either as the ‘Abla Naari’ or as impeccable, invulnerable characters—and instead, presenting women as they truly are: human beings, replete with flaws, resilience, and diversity. Such nuanced portrayals not only contribute to high-quality cinema but also assist in shattering gender stereotypes and endorsing equality.
Moreover, the impact of the audience in shaping points of view cannot be underestimated. Their receptivity to films that defy the norm, placing strong, independent women at the heart of their stories, is crucial for encouraging further change. Ultimately, the power to redefine the ‘Abla Naari’ trope and deepen the infusion of feminist themes into Bollywood resides as much with its viewers as with its creators (Dasgupta, 2000; Gopalan, 2002).
The evolution and influence of the ‘Abla Naari’ trope within Bollywood and its interaction with feminist themes offer intriguing insights into the dynamic landscape of Indian society and its shifting attitudes towards women. As we forge ahead, it is hoped that the film industry will persist in leveraging its influence to challenge patriarchal norms, and in doing so, nurture a society that lauds gender equality and diversity.

References

  • Basu, Amrita. Women’s Movements in the Global Era: The Power of Local Feminisms. New York: Routledge, 2018.

  • Bose, Nandana. Pink: The Inside Story. HarperCollins Publishers India, 2017.

  • Chakravarty, Sumita S. National Identity in Indian Popular Cinema: 1947-1987. Austin: University of Texas Press, 2008.

  • Dasgupta, S. “Paradigms of Globalization and Contemporary Indian Cinema”. Journal of the Moving Image 1 (2000): 43-55.

  • Dewey, Susan. “Dear Dr. Kothari…”: Sexuality, Violence Against Women, and the Parallel Public Sphere in India. American Ethnologist 35, no. 1 (2008): 124-139.

  • Gopalan, Lalitha. Cinema of Interruptions: Action Genres in Contemporary Indian Cinema. London: British Film Institute, 2002.

  • Kabir, Nasreen Munni. Bollywood: The Indian Cinema Story. London: Channel 4 Books, 2001.

  • Kishwar, Madhu Purnima. “Women and Indian Cinema.” India International Centre Quarterly 22, no. 1 (1995): 80-94.

  • Mishra, Vijay. Bollywood Cinema: Temples of Desire. New York: Routledge, 2002.

  • Rao, Shakuntala. Bollywood and Globalization: Indian Popular Cinema, Nation, and Diaspora. London: Anthem Press, 2007.

  • Chaudhuri, Shohini. Contemporary World Cinema: Europe, the Middle East, East Asia and South Asia. Edinburgh: Edinburgh University Press, 2014.

 

Sera Choudhary is pursuing her Bachelor’s in Political Science (Honours), with a minor in Sociology, from Jesus and Mary College at Delhi University. With keen interests in public policy and gender studies, she aspires to delve deeper into these subjects in her future academic pursuits. If there’s one thing she truly identifies with, it’s her commitment to feminism.

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