I consider myself a film enthusiast, even to the point of occasionally spending my money on Bollywood movies and the overpriced popcorn that comes with the cinema experience. However, there comes a point where you have to consciously decide against going to theaters to watch the same recycled nonsense, particularly when it feels like some directors seem to believe the audience should “leave their brains at home.” The fact that Article 15—genuinely one of the more thoughtful Indian films released this year (debate me if you dare!)—wasn’t a box office smash upon release speaks volumes about the current state of Bollywood. While Article 15 eventually found its audience on Netflix, so did a host of less deserving films. And to top it off, we didn’t even get the usual annual film with a social message starring Aamir Khan this year.
Instead, 2019 became the year of endless discussions about whether Kabir Singh was a “problematic film”. Seriously? A movie that glorified stalking, possessiveness, and emotional manipulation, all presented by Bollywood’s once-charming Shahid Kapoor, wasn’t problematic at all, right? This was the year Bollywood seemed to try hardest to appear concerned about correcting its missteps. But after sifting through most of the films I’ll discuss here, I’ve reached one firm conclusion: Kartik Aaryan has an extremely punchable face. But that’s a rant for another time. So, 2019 was the year I swore off Bollywood cinema trips, opting instead to wait for reviews from outlets like Film Companion to guide my viewing choices.
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Perhaps I’m being too harsh on Bollywood. Maybe there’s more substance than I’m giving credit for. So, let’s give the industry the benefit of the doubt and explore the important societal topics that Bollywood filmmakers supposedly highlighted through their movies in 2019:
Gender Equality: Bollywood’s Backward Glance
In a year where India was reeling from horrific events like the Hyderabad rape and murder case, and the subsequent controversial killing of the accused perpetrators, Bollywood offered us gems like Kabir Singh, Luka Chuppi, and Pati, Patni Aur Woh. These films, instead of reflecting on gender dynamics responsibly, seemed to suggest it’s acceptable for men to leer at women because, apparently, women secretly desire that kind of attention. Stockholm syndrome, anyone? These films seem to imply women will even adore a cheating partner simply for being “vulnerable” about their infidelity.
The debate around Kabir Singh and its original Telugu version, Arjun Reddy, continues to rage, with various directors and actors taking opposing sides. Rani Mukerji was the latest to offer her “insights” on the Kabir Singh controversy, conveniently timed with the release of her film Mardaani 2. Smart marketing, Rani?
LGBTQ+ Representation: A Token Gesture?
LGBTQ+ representation is a topic close to many hearts, and in 2019, a year after the legalization of gay sex in India, Bollywood graced us with a grand total of one film featuring queer characters. Just one. Because, naturally, queer stories should be limited to the supposed gay-to-straight ratio in the population, right? While regional cinema and independent filmmakers have been pushing boundaries with films like Ka Bodyscapes and Evening Shadows for years, mainstream Bollywood has largely ignored the realities and struggles of LGBTQ+ individuals. Because, of course, the industry narrative seems to be stuck on men being interested in harassing women, as previously mentioned.
However, we did get Ek Ladki Ko Dekha Toh Aisa Laga, featuring A-list stars like Anil Kapoor, Sonam Kapoor, and Rajkummar Rao. While some hailed it as a progressive step for Bollywood, others were critical of the film’s overly sentimental Bollywood treatment of a serious subject. Overall, it was a commendable effort, but the concern remains: will Bollywood simply commercialize homosexuality and reduce it to token representation?
Youth Issues: Out of Touch with Reality
Looking at the real world, Indian youth are facing immense pressure. Unemployment is soaring, and students across the country, from JNU to Guwahati, are protesting against systemic issues. But in Bollywood? Not a chance. The youth in Hindi films have entirely different “problems,” like winning a triathlon-dance competition or juggling romances with multiple partners simultaneously. You know, because films are where young people go for inspiration, or so some delusional people might say. Why else would we have a 29-year-old Tiger Shroff portraying a college student in Student of the Year 2? This film might have become the lowest-rated big-budget Bollywood film of the year, but as Tiger Shroff himself said, it’s “no biggie”.
Another common misconception Bollywood seems to perpetuate is that all Indian youth are from Delhi and speak like Kartik Aaryan in Sonu ke Tittu ki Sweety. Earlier, I might have underestimated the LGBTQ+ representation because perhaps Sonu ke Tittu ki Sweety is actually a queer film in disguise. Sonu and Tittu’s “friendship” is so intense, it makes you wonder if Karan Johar secretly directed some scenes (because he loves to hint at a “gay agenda” without actually committing, which is a personal favorite aspect of his otherwise mediocre films). Bollywood’s version of youth is all about male friendships, and guess who always threatens to destroy these sacred bonds with their manipulative ways? Women, naturally! Is there a pattern emerging here?
Physical Changes: Superficial Concerns
In 2019, we were treated to not one, but two films released around the same time, both centered on male pattern baldness: Bala and Ujda Chaman. Apparently, hair loss is the most pressing issue in India today. Ujda Chaman even faced accusations of plagiarizing jokes from comedian Vinay Sharma. The irony? Vinay Sharma is actually bald.
When Bollywood isn’t focused on the “stigma” of baldness, they’re busy casting fair-skinned actors to portray dark-skinned characters. Forget Fair & Lovely; Bhumi Pednekar is here to single-handedly combat racism and prejudice against dark-skinned people by… darkening her own fair skin for a role. But hey, she justified it, so it’s all good, right? Has Bhumi Pednekar been “canceled” yet? It’s hard to keep up. We saw the same “brownface” phenomenon in Super 30. But brownface or blackface is a long-standing tradition in cinema. It’s “art,” after all. Anything is permissible. Remember when Madhur Bhandarkar did the same in Traffic Signal? Apparently, poor people and South Indians automatically equal dark skin in Bollywood’s eyes.
Scientific Advancement: Patriotic Pandering
Science and India are presented as close allies in Bollywood, akin to childhood friends where science is left behind and India becomes best friends with… questionable spiritual gurus. Yet, people briefly paused from their cow urine consumption to look up at the sky when Mangalyaan successfully reached Mars. Mission Mangal showcased the brilliant female scientists at ISRO who made the Mars mission a success. And unsurprisingly, the film attributes much of this success to Akshay Kumar, who is rapidly transitioning into a walking, talking, patriotic Hallmark card.
Religious Freedom: Silence Speaks Volumes
Never mind this one. Let’s just move on.
So there you have it. Overall, 2019 was a banner year for Bollywood’s output of cinematic garbage, and I eagerly anticipate more of the same so we can continue throwing our money away.
Wishing a happy 2020 to everyone in Bollywood, except for Kartik Aaryan.
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