Hindi cinema has never been the best place for women to be in. At least, the insiders of the industry and its audience have continued to believe so through the 95 years of this business. A surplus of television channels and print media options in this century opened more avenues for us to become familiar with this representation of the chauvinism of our cultural behemoth – the movie industry. It has been the male-dominated industry that it is without much dissent barring some singular activist voices.
But did that stop the women of this country from dreaming big? A quick recollection of the last eight years of the new millennium seems to reveal a negative reply. A deeper study of women participation in Hindi movie making of the last eight years is thus a necessary and relevant exercise.
The portrayal of women (read the characterization of female actors) in Hindi cinema is not the major concern here. That will remain the puzzle that it is forming nothing but a topic of debate that satisfies the intellects; the primary reason being its dependence on audience-taste rooted in conventions of heroism.
This study intends to look at a more realistic aspect of women in Hindi cinema – their participation in the movie making process. The focus will be on the following elements of creating cinema:
Direction
Screenplay
Editing
Cinematography
The choice of the period of study is justified in that a noticeable stir created by a plurality of women happened post 2000 only. At the same time, the two decades prior to it that gave a good breeding ground for the surge that happened after 2000 are not forgotten. In fact, it is fondly remembered throughout.
CALLING & CREATING THE SHOTS
The directors and writers who made films post 2000, in the order of their debut films, are:
Aparna Sen is the veteran in the women director faction of India
Her Paromitar Ek Din (2000) was a critical hit and Mr. and Mrs. Iyer (2002) won her a second national award besides the Best Actress trophy for her daughter Konkana Sen Sharma. 15 Park Avenue (2005) is another feather in her cap with The Japanese Wife based on Kunal Basu’s short story waiting to join the list. With a very unique style of film making, she is cherished by critics and audience alike.
Kalpana Lajmi who made a stunning directorial debut with Ek Pal (1986), also co-scripted the movie with Gulzar. Ruddali (1993), Darmiyan (1997), Daman (2001), Kyon? (2003) and Chingaari (2006) followed. Kalpana Lajmi became the only director who helped two protagonists in her films win National Awards; with Dimple Kapadia winning it for Ruddali and Raveena Tandoon for Daman . That speaks volumes about the female flavour and fervour of her movies.
Mira Nair, born in India and based in New York
If there is one word that describes Mira’s films, it is reality. The slice of life experience that Monsoon Wedding gave to thousands of Indians made her a household name here.
Deepa Mehta, again, born in India and settled in Canada , is best known for her Elements of Trilogy that is based in India
The boldness of her themes marks her apart from her contemporaries. There is a strong urge in her films not be a part of the status quo created by others.
Tanuja Chandra who started her career with a path-breaking teleserial Zameen Aasmaan is another name worth mentioning. Having scripted a massive hit like Dil To Pagal Hai (1997) from the Yash Raj stable and a critically acclaimed Zakhm (1998) from the Bhatt camp, her transition to wielding the megaphone was just natural. After her first movie Dushman (1998) with Kajol in a double role, Sangharsh (1999), Sur (2002) and Film Star (2005) followed. Except Dushman, none was received at Box Office well. Her last film Zindaggi Rocks (2006) with Sushmita Sen as the protagonist was, again, poorly received.
Nevertheless, her conviction in her kind of cinema seems to be strong as she does not show any signals of digressing from the path of telling the story of women. This is where Tanuja beckons a positive light into the future.
Meghna Gulzar, daughter of Rakhee and Gulzar, made an impressive debut with a female-centric film on surrogate motherhood – Filhaal (2001). She followed it up with a chick flick Just Married (2007) and one short film Pooranmasi in the ten-film compilation Dus Kahaniyaan (2007).
Revathy, a National Award winning actress of multiple Indian languages debuted as a director with Mitr, My Friend (2002). This is one of the most significant movies to be considered in a study like this because Revathy chose to work with an all-women crew, with almost a vengeance. Phir Milenge (2004), her second movie and a star-studded affair, acquired a lot of attention as the first Hindi movie based on AIDS.
She comes across as a passionate filmmaker who creates cinema for a cause. Her high-placed connectivity fetches her stars and gives her films the mileage that they deserve.
Honey Irani, a child artist of yesteryears made her directorial debut with Armaan (2003). The story of doctors bombed at the Box Office. But it does not undermine the fact that she is nothing short of a power woman in the industry, thanks to her prolific screenplay writing career and hi-fi family ties. She has a huge number of acclaimed movies under her belt that will make any man/woman competitor envious. Some of the recent and well known ones are Krrish (2006), Koi.. Mil Gaya
Pooja Bhatt, born with a golden spoon in her mouth, inherited the directors’ cap from her father, Mahesh Bhatt, an established film maker himself. Also an actress of the past known for her bold characters, she carried on the boldness even when she changed her role. Paap (2003), Holiday (2006), Dhokha (2007) – all of them have women adorning bold moves and a lot of oomph. However, an unintentional label of ‘B Grade’ has affected the way her movies are perceived and accepted by our conventional audience.
Parvati Balagopalan made an interesting movie Rules: Pyaar Ka Superhit Formula (2003) with super model Milind Soman and a newcomer Meera Vasudev. Tanuja played a pivotal role in this movie which is ‘female’ in every sense.
Farah Khan, the golden name in the list of the Hindi film directors (not just women), is a veteran choreographer as well. Her directorial debut Main Hoon Na (2004) and her second film Om Shanti Om (2007) were adjudged ‘the biggest grosser’ in both the years.
Her intimate friendship with Shahrukh Khan guarantees her instant access to a whole lot of facilities which any other director in this list cannot dream of. Nevertheless, if not for her sheer talent, vision and experience, two mammoth hits of such stature would not have been possible. Predictably, she became the first ever woman director to be nominated for the Filmfare awards in 2005.
Soni Razdan, a well known face for Indian television viewers, again, from the Mahesh Bhatt clan, debuted with a film Nazar (2005). The movie which featured Meera, an actress from Pakistan , released first on Aaj TV in Pakistan
Leena Yadav, who penned and directed her debut movie Shabd (2005), could effectively use her cinematographer husband Aseem Bajaj’s film connections to get introduced to the Pritish Nandy production house. The break given to this Guru Dutt fan by Mr. Nandy, however, was proven right when she delivered a technically well made movie.
Kanika Verma, another debutante director who took up a social issue while making her film assisted Hansal Mehta before going solo. Dansh (2005) dealt with Mizoram’s transition from dictatorship to democracy.
Reema Kagti, with a refreshing movie Honeymoon Travels Private Limited (2007), made her debut memorable. Having assisted fine directors like Farhan Akhtar (Dil Chahta Hai and Lakshya), Mira Nair (Vanity Fair) and Ashutosh Gowariker (Lagaan), her film making techniques are contemporary. An inspired writer herself, she scripted this film.
Bhavna Talwar, a journalist-turned-director, made her debut with Dharm (2007). The movie about a Hindu priest based in Banaras was chosen the closing film at the World Cinema Section at the Cannes Film Festival 2007. A court case to fight the selection of Eklavya (2007) as India
Sooni Taraporevala, an established photographer based in India
Anvita Dutt Guptan, a darling of Yash Raj Films (YRF), has embellished several films in various roles. She scripted Neil ‘N’ Nikki (2005) and penned the dialogues for Bachna Ae Haseeno (2008) and Dostana (2008). She was also one of the lyricists in the above movies besides Tashan (2008) and Heyy Babyy (2007).
Shibani Bhathija, formerly creative head of a prominent television channel, made her writing debut with all grandeur in YRF’s Fanaa (2006). Following it up with Kabhie Alvida Naa Kehnaa (2006) with Dharma Productions is nothing but a dream run for a newcomer and it became possible because of her power list friendships. Her latest release is Kidnap (2008).
Bhavani Iyer, another journalist who stepped into the world of cinema, co-scripted two movies in 2005 - the legendary Black by Sanjay Leela Bhansali, one among the must see 25 Hindi movies of all times and Main Aisa Hi Hoon by Harry Baweja.
Vibha Singh, who scripted Dharm (2007), also donned the role of a dialogue writer in major motion pictures like Parineeta (2005), Chura Liyaa Hai Tumne (2003) and Sur – The Melody of Life (2002).
Rahila Gupta is a freelance journalist and writer who co-scripted Provoked (2007).[14] The movie directed by Jug Mundhra was an adaptation of Circle of Light written by Rahila and Kiranjit Ahluwalia, the real victim portrayed in the story.
Zoya Akhtar is another name that is being looked forward to by the industry. Farhan Akhtar’s sister, Javed Akhtar and Honey Irani’s daughter - she has a lot of lineage to fall back on. Whether she proves her mettle with the audience remains to be seen.
CAPTURING & CUTTING THE SHOTS
Eight years of Hindi cinema and a multitude of directors (and production houses) gave only one female cinematographer the opportunity to capture a movie through her eyes. Revathy paved the way in creating this milestone through her all-women-crew in Mitr My Friend (2002).
The talented woman who was chosen for this prestigious project was Fowzia Fathima. Having trained under ace cinematographer P C Sreeram for years, Mitr was her first independent work. While she did films in other languages after Mitr, another Hindi movie never beckoned her.
The editing table, however, seems to be a brighter picture. Notably, women editors in Hindi cinema are not one-movie wonders. There are established technicians who command equal amount of respect if not more for their professional expertise compared to their men counterparts.
Renu Saluja, the undeniable stalwart in this department should be remembered here. Her glorious stint ended just before the period of this study. However, she is a technician whose work spoke for her and who inspired a whole generation of women editors in the country. A product of FTII, Pune, she won the National Award four times - Parinda (1989), Dharavi (1991), Sardar (1993) and Godmother (1999).
Bela Sehgal, legendary Sanjay Leela Bhansali’s sister and a fine editor, has cut only her brother’s films until now apart from some high profile music videos. Khamoshi (1999), Devdas (2002) and Black (2005) are the films in which she worked with him. She is now working on her directorial debut with Adnan Sami in the lead.
Deepa Bhatia, another prolific woman editor of recent times, debuted with Hazaar Chaurasi ki Maa (1998), a Govind Nihalani film. Her subsequent cuts were for Thakshak (1999), Dev (2004), Maine Gandhi Ko Nahi Maara (2005), Taare Zameen Par (2007) (TZP) and Rock On! (2008). She also contributed to the concept and research for TZP.
Hemanti Sarkar who started her editing career in mainstream cinema with Sur – The Melody of Life (2002) went on to do several other films like Parineeta (2005), Dansh (2005), Strings (2006) and Maati Maay (2006).
Aarti Bajaj Kashyap is another editor who has made her presence felt in mainstream Hindi movies quite successfully. While her debut film Paanch (2003) was not noticed much, the following ones grabbed much attention - Black Friday (2004), Honeymoon Travels Private Limited (2007), No Smoking (2007), Jab We Met (2007), Aamir (2008).
Meghna Ashchit, who started off as an Associate Editor in Krrish (2006), went solo with Krazzy4 (2008), another movie from Rakesh Roshan’s Film Kraft Productions. She is now working on Dilli 6 slated to be released next year.
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Women in the early days of cinema had more opportunities and were more successful at creating films due to the fact that the structure of the industry had not been masculinised yet. Once the industry's economic worth became evident, men assumed positions of power and forced women out of the system.
This history gives us a far better understanding of the present. While we may have seen a ‘fair’ number of names in the section directors and screen-writers, none except Farah Khan, has achieved the type of commercial success that accords power in the industry.
Also, what percentage of the total cult does the list account for? How many of them have a scope of sustainability? In the examples discussed, we see that women from a film family or with industry power pockets face less threat of extinction. The others who work on their own terms and standing find it difficult to continue.
Nevertheless, it is heart-warming to see the considerable increase in the number of female film makers who give it a shot instead of giving up before trying. The fear of sexual harassment, casting couch and potential exploitation is on a decline among girls and their families, thanks to modernity aided by education and awareness. Also, we cannot deny that the industry is more open to the fairer sex in comparison to the last century. Thus, women warming up to the changes and scope of the new century are definitely moving in the right direction.
The aspect that should be discussed the most in such a study is cinematography; due to the sheer lack of a female plurality there. That discussion would be incomplete without a mention of Alexis Krasilovsky. Renowned world over for her astounding work on women cinematographers, she helped establish ‘Behind the Lens: an Association of Professional Camerawomen,’ an organisation that helped members get jobs and mentored them professionally, in 1984. Needless to say, there is no such association in India
It is a matter of surprise to us, however, that Alexis was surprised at the support our film industry extends to women cinematographers in comparison with Hollywood India India
Women cinematographers are often perceived as not strong enough to operate heavy cameras. “But they frequently carry babies at least as heavy,’’ Krasilovsky protests.
But editing, as mentioned earlier, is a far more welcoming arena. Women editors are taken seriously in India
All said and done, a few words by Claudia Raschke are relevant to conclude this study.
“When you go to an interview or onto a set, as a woman, you are incompetent until you prove you know your stuff. As a man, you are considered competent until you are proven totally incompetent. We're not given the same chance because we don't have a track record yet."
This quote stands as a testament to the prejudices faced by the women who choose any department of film making as their career. In disguise, it also salutes all those women who make it in tinsel town despite not being ‘given the same chance.’
