Third Gender in Bollywood
Films
Komal Shahedapuri
(Student of Master of Arts, Sem-3)
Department of English,
MK Bhavnagar University, Gujarat, India
E-mail: komaltara1311@gmail.com
Abstract
Rohit K. Dasgupta has rightly observed
that ‘established academic debates surrounding representation of queer
identities in India have time and again illuminated the relationship between
sexual (gendered) subjectivities and the state. More often than not queer
individuals themselves have fixated on heteronormativising their queerness.’
While most would prefer to ‘fit in’ for socio-cultural and political progress,
the radical queer activists and scholar challenge the ‘norm’ for a different
kind of progression. Similarly, Gayatri
Gopinath argues that ‘wither the queer woman is erased from patriarchal
nationalist rhetoric that refuses her existence or she is colonized by a
liberalist western discourse of sexuality that seeks to codify her
subjectivity through indexes of ‘gay’ and ‘lesbian’. (R. K. Dasgupta)
Through
the lenses of these observation, this paper attempts to look into the identity
of Hijras/Kinnar represented in Bollywood films along with lesbian and gay
identities as portrayed in a serious way in two movies, ‘FIRE ’(1996)
by diasporic Canadian filmmaker Deepa
Mehta and ‘BOMgAY’(1996) by Riyad Wadia as well as in comic way in other movies like DOSTANA (2008) hijra in TAMANNA (1997) and SADAK(1991)by Mahesh Bhatt
Key Words: Third Gender, Lesbian,
Gays, Hijras/Kinnar, Queer Film , Fire, Bomgay, Tamanna, Sadak, Dostana,
BolBachan
The portrayal of LGBT and Hijras/Kinnar is not essay task in India because homosexuality is mostly a taboo subject in Indian civil society and for the government section 377 of Indian penal code makes sex with persons of same gender punishable by law. Third Gender is marginalized and stigmatized community in society in one or other way who struggled to maintain their livelihood and identity at any cost. The study of their life and desires falls under the ‘Queer Theory’, is a field of poststructuralist critical theory that emerged in the early 1990s, out of the fields of Queer studies and women’s studies. Queer theory builds both upon Feminist challenges to the idea that gender is part of essential self and upon Gay and Lesbian studies. These studies have maintained a close relation to the activists who strive to achieve for gays and lesbians political, legal and economic rights equal to those of the heterosexual majority.
Over last few years, Hindi Movies
presented some novel subject matter which contribute to change the social
norms, by experimenting with new concepts , it showcasing the issues or
problems of contemporary society which is otherwise never be noticed by people.
Such an issue is the identity crises of LGBT but slowly it finds place in theme
of the movies. Hijra community portrayed in Bollywood in different way than they are in
real life, it make fun of this community like it using them in sexual songs,
for comic relief, as main villain etc as in movie Sadak , but some movies who represent them in serious way like Tamanna.
For Indian audience as well as Film makers, homosexuality is limited subject though
in the last decade of the twentieth century LGBT men became more visible in
framework of movies. Film scholars argued that Films are not just visual images
shown to the audience but that they have capacity to overpower and influence
the spectator. With the help of textual and cinematic codes, the films present
meaning in such a way that they match with our understanding of the real world,
as if co-constructing our reality connecting us to our history, experience and
social milieu. Today it becomes significant cultural artifact in the study of identities
and sexualities. Indian Cinema has always been a mirror image of the Cultural,
Socioeconomic and the Political transform. Through this LGBT and hijra started
being more confident towards society or on screens. Though some films tried to
break the taboo and vision about LGBT and hijra by portraying them but ended up by
giving comic relief through these characters. But in recent times, these marginalized third gender who were once an object of
mockery have portrayed seriously in movies while such movies are making mockery of such sensitive issues like
mainstream cinema which misinterpret LGBT and hijra characters as an object of
Comic relief which Indian Audience expect too. (Dostana, Sadak) But alternative Cinemas have given much respect as
normal lead roles and portrayed them in ethically correct or serious manner.(Fire, Bomgay, Tamanna) India is a
country where sexual orientation is still a taboo subject though people have
sexual relation than heterosexuality like LGBT but it not still accepted by society, so they have fear of
being outcast and that’s why they hide their real identity. Movies are always
tried to convey present day issue and paved path for social change. In last
twenty years visibility of third gender in movies is worth citing. (Panda)
Cinema
as a medium of mass communication can be seen at different levels, serving
different purposes. It can be an art form, an entertainment, a social document
or a social critique. Cinema can be all of these and at the same time be a
means to something else – a mirror unto our lives, showing us exactly how we
function as society. (Kumar and Sen)
‘Hijra’, for
most of us are parasites. We call ourselves ‘normal’ are habituated to stay
away from the presence of hijras because generally we learn from elders that
this community is evil, they are different from us and cursed. Children are
kept away from their direct sight because of
baseless fear that they might convert children to hijra but there is
also belief that if hijras are present in any good occasion like childbirth or
weddings , it’s blessing for us but we ignored them when they knock on our car
windows with make ups , gajras and dressed in sarees we become cold and ignore
their presence. Because of our this type of behavior with them, they are
isolated from society. Such stigmatization may compromise the mental health of
hijras possibly giving rise to various mental health issues.
Tamanna
(1997) and Sadak (1991) ) by Mahesh
Bhatt
It these two movies by same director
represent Hijra community but in
different way . In movie Tamanna,
serious touch has been given to this community in which role of Tikku as hijra played by Paresh Raval based
on a real-life character and actually try to explore the emotional and physical
landscape of the life of a hijra. While in Sadak,
violent depiction of transwoman in the character of Maharani as a villain and
evil owner of brothel.
‘Fire’ by Deepa Mehta
A critical moment of rapture in Indian Queer
sexuality occurred with the release of Deepa Mehta’s ‘Fire’(1996),
which shows that queer sexuality is not visible within the culture of
India through a dialogue between major two characters Radha and Sita that
Sita:
‘There is no word in our language that
can describe what we are and how we feel for each other’ (Mehta, Fire)
The Indian filmmaking Culture somehow
still appears confused towards forming a universal opinion about
projecting homosexual characters. Deepa Mehta,Westernized’ Non Residential
Indian film maker. However, most of the criticism that followed its release in
India protest against sexual intimacy between two ‘Hindu’, Indian middle class
women. It was 1996s, ‘Fire’ tells a tale of two women’s
journey of exploration of the desire. A film served a sensual echo coddle
in an Indian context while also scooping itself out of the Patriarchal
Prevalence. This film is written and directed by Deepa Mehta and staring
Shabana Azami and Nandita Das. It is a first installment of Mehta’s Elements
Trilogy. It is followed by Earth(1998) and Water(2005).’Fire’
is loosely based on Ismat Chugtai’s 1941 Urdu short story, Lihaaf
(The Quilt).It was one of the first mainstream films in India to
explicitly show homosexual relations. This movie helped mainstreaming
homosexuality in India. It tells a tale of lesbian relationship which was first
of its kind in Indian Cinema. (Nath)
Radha and Sita are two major characters
of a movie that are represented as Indian women caught in an oppressive web of
commitments of Family, arranged Marriages, and traditional Patriarchal notions
of duty. Many critics describe ‘Fire’ as the story of “the two unhappy
housewives compelled to seek emotional and sexual satisfaction
from each other because their husband provides none”. Ashok turns towards
Celibacy and Jatin loves other Chinese girl Julie. The Film narratives open
with a story within story style in which Radha’s mother told the story of
people who are sad as they can’t see ocean and added that an old woman in
the village comforts people by saying, “What you can’t see, you can see. You
just have to see without looking”. The ‘sexual’ choice then becomes merely
a medium for film to make that statement, the representation and Visibility of
non western queer female desire, what is interesting about the statement is the
seemingly innocuous distinction between “seeing” and “looking”.On
the other hand, Mehta’s film contests the discursive polemic of Visibility
outside the home. Instead, she traces the domestic and filial orientations of
being a queer subject.
Reinterpretation
of Indian Myths with aspect of Lesbianism in a movie ‘Fire’
‘Fire’ reworks some age
old myths that have often been used in oppress Indian women and reclaims them
in a feminist voice. Its first Indian mainstream film with overt lesbian theme,and
its bold offering of an alternative vision for Indian women is extremely
threatening to the patriarchal system. Mehta uses these myths as backdrop of
her film but does so by interpreting them in ways that might be considered as
Sacrilegious. Theofficial webpage of
‘Fire’emphasis the film’s intent of re-envisioningthe myth of ‘Sita’. Three
important myths are reworking in ‘Fire’, myth of Sita, myth of Radha and myth
of Karva chauth.
Myth
of ‘Sita’, mythical
figure in Ramayana, had to give trial by fire to prove her purity and obedience
towards her husband. Mehta transform the myth which has traditionally been used
against Indian Women to instill fear about their purity and honor where is
no freedom for expression or individual Independence, but in the film, two
women defy society’s idea about how they should be living their lives.
Therefore, Fire is used to sanction the union of the two women. This myth,which
underlines the entire film is used to sanction their Choices. As in public
Debate, Mehta noted that “I can’t have my film hijacked by anyone
organization. It is not about Lesbianism, it is about Loneliness, about
Choices.”(quoted in Madhu Jain with Sheela, A Raval, ‘Ireover’ Fire, New
Delhi,1998)
Myth
of Radha, in
Hindu mythology, Radha was the consort of the of the God Krishna. Although, Radha married to
another cowherder, she was Krishna’s constant companion. The mythological Radha
is embodied in the character of Sita in the film. She is one who acts her desires
and take initiative with character of Radha in the film. Although, she
married to Jatin, she is Radha‘s constant companion. Mehta has interchanged the
names of her two main characters with the mythological figures they represent.
It’s the character of Radha who embodies the Goddess Sita, while the character
of Sita who embodies mythical Radha. Mehta is making a very important statement
by interchanging the names of the two women. Mehta intimates that two
characters are different parts of united whole, both characters Radha (a pure)
and Sita (the desirous)are one dimensional, split-reactions to a
suffocating tradition, Mehta allows for fluidity between different and
multiple possibilities , The pure and the desirous are no longer separate.They
are two aspects of one. This interpretation questions the original myths. (Sorrells)
Myth of Karva Chauth
The
story of this, is told by Radha, and visualized by Mundu , this scene place the
entire myth in a comedic light. Radha ends the story by commenting
Radha: So now you know why we
fast? To prove how loyal and devoted we are to our husbands. (Nath)
Sita : what a wimp! I mean the
queen and as for the king. I think he’s a real Jerk. (ask Radha) what do you
think?
Radha : I don’t know, she didn’t
have many choices.
Sita: I’m so
sick of all this devotion, we can find choices
In this, Radha stresses word ‘choice’
and looks at Sita ,the act suggesting that Radha has a choice and that is Sita.
Expressing her dislike for meaningless traditions to keep fast for husbands to
show your loyalty towards them, Sita declares “I am sure we can find choices”. Sita and Radha thus offer a
critique of the notion of “compulsory heterosexuality”, theorized by Adrienne Rich. There is one question
may arise in our mind that why Deepa Mehta made movie on only lesbian not on
gay. So, it’s answer can found from her comment in an interview that “this story is not an autobiography but it
is based on what I knew of my mother’s life being brought into a joint household
often an arranged marriage. I know that she had bonded with the other woman and
I wondered what would happen for women in the ‘90s.”(Bowen, 1996) Mehta’s
story questions centuries of Indian Philosophy which teaches that “Desire is
the root of all evils.”(Ashok speaks) but ‘Fire’ defies entire
premise As Radha finally declares “without Desire , there’s no point in living.” Towards
the end of the film, we see Radha in the flames, the film flashes back to young
Radha finally learning how to “see” the ocean in a field of Mustard flowers, exclaiming’
“I can see the ocean, I can see it.” . (Sorrells)
Controversies
with ‘Fire’
Fire opened across India in mainstream cinema as path
breaking film in winter 1998. The film recorded 80% collections in three weeks
until trouble that visited it on November 25, two dozen men of the Jain Samata
Vahni of Mumbai wanted Maharashtra’s minister of state of cultural
affairs Anil Deshmukh to ban the film but failed. On 1 December Shiv Sainiks
ransacked cinema theatre in Goregaon, Mumbai. Goyal, Delhi
chief of Shiv Sena said,“ The film insulted Radhaji and Sitaji and
Ramayana, it hurts the sentiments of Hindus but did they listen?” and
right winged groups wanted protagonist’s name changed to Nita from
Sita which is found in Hindi version of movie. Bal
Thackeray, a leader of Shiv Sena party in Bombay asserting during the
release of the film, “Fire may have
international awards but will anyone deliberate on the harm these
people are doing by ushering in a wretched culture, also noted that the
depiction of Lesbianism was a direct attack on out Hindu culture and
civilization”. In response to this Mehta argues that lesbianism is part of
Indian heritage with historical narrations and legitimate representation.
while Brinde Bose argues that Fire primarily evoke to define
homoerotism in order to define feminist resistance to patriarchy
construction of female sexuality because the issue of lesbianism hasn’t been
accepted like male homosexuality. (Raj)
The Film helped to gave the voice to
lesbians that the most important verdict for ‘Fire’ came from audience,“ That
night after ‘Fire’ was attacked, there was a Virgil by candlelight at the
Regal, As far as eye could see, there were women and men with
placards that said ‘we are Indians and we are Lesbians.” To see this
Mehta said ‘ I was like ,’Holy shit,
this is cool,’ and she sums up by saying in an interview, “I think the film had an incredible impact
on young people of all communities, because they are fighting something also. I
might not be traditional values but some bias or injustice . Everybody has this
want and basically Fire is a film about desire. You have to ask yourself, ‘what
do I want? We’ve all been taught to go for what we need, I say it’s more import
to go for what you want.” (Nath)
‘BOMgAY’
by Riyad Wadia and Jangu Sethna
Bomgay is a bold and brilliant 1996 Indian anthology of
short film, the film stars Kushal Punjabi and Rahul Bose. It is known for
its controversial gay sex scene in a library. It is a collection of six
cinematic adaptations based on Raja Rao’s selected gay poems inaugurated
the era of queer cinema in India , about “Mumbai
same sex sub cultural life”. It was first screened at Bombay’s National
centre for the Arts in December. This film is Twelve minutes long ,collection
of six short film, its India’s first gay film which closely and openly portray
the gay culture or the subject of homosexuality in India. All vignettes are
variously heavy and light about Mumbai same sex subculture life. Film is not
release in India as can’t get
certificate from Censor Board.
The film has been
severely criticized by many for its extravagant and fantastic portrayal of gay
men in India which is far from the Truth but according to Wadia himself, he was
attempting to portray the emergence of a small gay community that dwells
in Bombay and who choose to interpret the word “gay” as practiced
and loosely define the westernized lens is evident in the aesthetics that
govern the film. In the title vignette “Bomgay”, the queer subculture of Mumbai
is identified through the sampling of the oriental fetishism of western
tourist. Rao problematizes same sex closeness in India by location it in
the public culture.
Family
members
From
England, America and Canada
visit
you at Bombay
which
they call Bomgay
some
of them are sex tourists
you
their post colonial pimp
Hungry
for pounds and dollars
(Bomgay
poem)
This vignette present a gay male New Yorker as the ‘sex
tourist’ and introduced as ‘Family’ who visit Bombay, for them it’s
a place where more gays are found, so they call it Bomgay which creates the
image of Bombay to the outsiders. The narrator presents as post colonial pimp
who took them to show that places in Bombay only for the hunger of dollars and
pounds , they appeals customers (tourist)for Prostitution. If the
narrator took them at religious places like Gokul but ocnly main three
sites of homoerotic expression in the Mumbai landscape pleases them
more that are western style gay clubs, men’s public toilets on plateform-2 of
Dadar station and finally steeple of Apsara Theatre.(Waugh,2002), these three
sites can be connected as well as “strangely familiar with each other. The last
line that ‘God’s own penis mightier than the sword’ represent the queer
subject very openly and clearly with the words that are usually not allowed to
films or in literature. Because of these language the film face many problems.
Bomgay complicates some of these issues, while it present the Phallic
significance of the Apsara Theatre which sex tourist love the most. (R. Dasgupta)
While in a ‘Underground’ another
vignette, the picture of lower class gay community and their lifestyle is
portrayed. It describe the scene of railway lines opposite Dharavi slum
in Bombay that as in old days the touch of men who belonged to lower
class or caste like Untouchables polluted, now is becomes virtues for
gays. It said that goo has its own uses as ripe harvest and fertilized by
defecting humans, it use as a object with which the memories of gay lovers who
met in an underground urinal to hide from society ‘The
underground has its own shade’ means that the gay community which
represent by underground has their own existence and choices. In Bombay, its
small world for gay community which creates by Wadia in ‘Bomgay’ , its far from
truth but represent gay’s individual world where their relations are allowed
that their found their garden of Eden.
‘Lefty’ is important for its Library sequence
.The library is far from being liberating space but Wadia recreates and
stylizes queer representation in Library, the narrator comments how Lefty
is stared at by the readers for writing with its left hand , following this
narrator says, “speaking isn’t allowed in Library but looking is”
whish is read against the backdrop of Rahul sodomised by Kushal. (R. Dasgupta)
“The purity of love subverted, the
twisted soul escapes into a world of fantasy. The individual spirit purges
itself by reveling in its victimization. The love that dare not speak its name,
now sits across table and debates it cause. The protagonists are self respect
and accountability. The antagonists hypocrisy and self denial.” (Wadia) This lines
present, how the film raise the voice of gay community and show that in the
society, their relations are not accepted. So the use of utopian world of
liberty for gays give them self existence and choices of sex in life.
Thus, these two films represent the issues
related to LGBT which is have to come as demand of time after 1990s, before
that there is no that much realistic and serious portrayal of it as done in
these films. Though sexual orientation have been regularly portrayed in
Bollywood but people of these gender portrayed
in comical way with stereotypical images of community like brassy make
up, body movement, maniac clapping, crude gestures. Movies like Dostana (2008) where the life of gays comically
portrayed for sake of popularity and economic benefit because audience also
want to see them in that way. In this film, Abhishek Bachchan and John Abraham
who pretended to be gay, there are also scenes where John Abraham kiss
Abhishek. Gays and Lesbians are not happy with this portrayal because it’s
mockery on gay relationship. It tries to bring out this issue to the people but
can’t give justice to the gay concerns. As compare to lesbian and gay
identities the identity of Hijras is still not explore more in society we can’t
see them as normal human beings though it’s biological fault not their fault. Stories
, which is told by films should be constructed in such a manner that our
society begins to accept their identity as natural and give respect to them that they should get all
rights as normal human being has because they are also humans like us not an
aliens. Filmmakers would be able to function in an atmosphere of more tolerance
and freedom, now that the government clearly says that a film about
homosexuality is not sinful. (Kumar and Sen)
.
Works
Cited
Abrams,
M.H. A Glossary of Literary Terms. Ed. Camille Adkins. seventh edition.
Heinle& Heinle, 1999.
Bomgay. By Riyad Wadia.
Dirs. Riyad Wadia and Jangu Sethna. Perf. Rahul Bose and Kushal Panjabi. Wadia
Movistone. 1996.
Dasgupta, R.K. "Queer Kinship in
New Queer India: From Wadia's Bomgay to R. Raj Rao's "Crocodile
tears"." Gendering the Narrative: Indian English Fiction and
Gender Discourse. Cambridge, GB, Cambridge Scholars Publishing pp. 23-33.
Ed. Nibedita Mukherjee. 1 August 2015.
Dasgupta, Rohit. K. "Chapter Three
,Queer Kinship in New Queer India:From Wadia's Bomgay to R.Raja Rao's
"Crocodile Tears"." 11.
Fire. By Deepa Mehta.
Dir. Deepa Mehta. Perf. Sabana Azami and Nandita Das. Prod. Deepa Mehta. 1996.
Fire. By Deepa Mehta.
Dir. Deepa Mehta. Perf. Sabana Azmi and Nandita Das. 1996.
Kumar, Sanjiv Sabharwal and Ritika Sen.
"PORTRAYAL OF SEXUAL MINORITIES IN HINDI FILMS ." Global Media
Journal 3 (2012): 13.
Nath, Dipanita. "Keeping Flames
alive:What made Deepa Mehta's Fire such a pathbreaking film." The
Indian Express 20 March 2016.
Panda, Dr. Namita. "Comicality of
Being Comic: Potrayal of Third Gender in Select Bollywood Movies." 4.
Raj, Senthorun.
"Intersection.anu.ed." 28 March 2012. Intersection: Gender nad
Sexuality in Asia and the Pacific.
<(http://intersections.anu.edu.au/issue28/raj.htm)>.
Sorrells, Sheena Malhotra &
Kathryn. "A new Fire in an Old Tradition." csun.edu.
<http://csun.edu/~sm60012/Media-GRCS-Online/A_new_fire_in_an_old_tadition.html>.
