Pan-Indian cinema has witnessed a rapid rise, with blockbusters like Baahubali, Pushpa, KGF, Salaar and Animal captivating audiences nationwide.
These films, while undeniably entertaining, often feature a recurring thought where the hero is defined by aggression, hyper-masculinity, and a relentless pursuit of dominance. This raises a critical question: Are these films in contributing to the normalization of toxic masculinity within Indian society?
In the golden age of Indian cinema (1950s-70s), the typical villain embodied anger and violence, contrasting sharply with the virtuous and just hero. Iconic antagonists like Gabbar Singh in Sholay and Mogambo in Mr. India served as stark reminders of the consequences of unchecked aggression.
The 1980s and 90s witnessed the emergence of the “angry young man,” exemplified by Amitabh Bachchan in Deewar. This prototype, however, channeled anger towards societal injustice, representing a rebellion against the system.
A significant shift has occurred in contemporary pan-Indian cinema. The aggressive, violent characters once exclusively associated with villains have become defining characteristics of the protagonists. Pushpa’s iconic axe, Rocky’s unwavering reliance on his hammer in KGF, and the everywhere presence of firearms in films like Salaar and Animal all serve to symbolize the hero’s dominance and masculinity.
These films, through elaborate action sequences and keen fan engagement, effectively glorify these characters, potentially influencing audience perceptions of heroism. While these hyper-masculine heroes dominate the screen, female characters often occupy a secondary role.
Frequently reduced to objects of the male look, they are often granted limited screen time and agency. Characters like Shruti Haasan in Salaar and Rashmika Mandanna in Pushpa, despite their talent, are frequently defined by their relationship to the male protagonist, their existence seemingly validating his masculinity.
The persistent presence of item songs and the consistent portrayal of female characters under the control of male protagonists further reinforce this concerning trend. The impact of these on-screen a portrayal extends beyond the realm of entertainment. In a society that reveres these larger-than-life figures, fans often imitate this hyper-masculine behavior, viewing it as an aspirational ideal. This idolization of aggression and dominance can have a profound influence on societal norms, subtly normalizing toxic masculinity in everyday life.
While films like Baahubali and KGF dominate the box office, there are extraordinary exceptions. Films such as Chhichhore and Tamasha have attempted to challenge traditional notions of masculinity, showcasing characters who embrace vulnerability and emotional depth.
However, their box office performance often lags behind their more conventionally masculine counterparts, reflecting a clear audience preference for the established formula. Interestingly, while heroes have adopted the character of past villains, the villains themselves have undergone a significant evolution. Characters in films like Arjun Reddy and Drishyam exhibit greater complexity and moral ambiguity. They are less easily categorized as purely evil and often driven by their own complex motivations, frequently serving as a counterpoint to the hyper-masculine hero.
The over-reliance on toxic masculinity as a formula for success in the Indian film industry warrants critical examination. It is imperative to strive for a more nuanced and inclusive representation of masculinity on screen. This necessitates a shift towards narratives that celebrate empathy, vulnerability, and healthy relationships, while also providing diverse and well-rounded female characters.
The future of Indian cinema lies in its ability to reflect the complexities of our society, to challenge harmful stereotypes, and to offer audiences a more nuanced and inclusive vision of masculinity.
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