The Voices of Resilience: A Feminist Study of Selected
Gujarati Films
Nupur S. Kapadia,
Ph.D. Research
Scholar,
Department of
English,
Shri Govind Guru
University,
Godhra, Gujarat,
India.
&
Dr. Vijay D. Mangukiya,
Associate
Professor,
Department of
English,
Shri Govind Guru
University,
Godhra, Gujarat,
India.
Abstract: This research paper aims to examine the
representation of female characters in selected Gujarati movies, emphasizing
how modern films confront traditional gender roles and reshape societal views
on women. Like numerous other regional film industries, Gujarati cinema had
traditionally presented women in stereotypical positions, such as wives,
mothers, and obedient daughters. However, recent films have diverged from these
conventional representations. Films like Kutch
Express, Hellaro, Meera, and Var Padharavo Savdhan depict women who
challenge the societal standards that limit their potential and present the
notion that women can be strong and self-sufficient. In recent years, films
have served as a venue for contesting stereotypes and have contributed to a
movement toward a more equitable and inclusive society. The paper analyses a
variety of female characters, revealing the depth with which these characters
are now depicted, moving beyond simplistic representations of women solely as
caregivers or romantic interests. It also aims to uncover the transformation in
representation, where female characters are portrayed as individuals with
thoughts, aspirations, and challenges. Additionally, it highlights the crucial role
of cinema in shaping public perception, fostering awareness, empowering
audiences, and contributing to wider societal change.
Keywords: Gender Stereotype, Female characters,
Gujarati Cinema, Perception, Social change.
Introduction
In
recent years, women’s rights have had an impact on Gujarati Cinema, reflecting
the societal changes. There is a noticeable transformation in conventional
Gujarati cinema, which was, for the most part, male-dominated, where women were
restricted to specific roles. However, in recent years, stories have been
revolving around women strengthening their rights, autonomy, and striving to be
independent. Filmmakers have started making female–centric movies that address
the issues of gender equality, societal biases, and the empowerment of
Women. Films like Hellaro, Kutch
Express, Meera, and Var Padharavo Savdhan marked a pivotal shift, not only by
portraying the multifaceted struggles of women and their quest for autonomy but
also by challenging traditional gender roles. These stories not just reflect
the voices and struggles of women and their pursuit of autonomy, but they also
question the conventional gender biases.
Feminism
is a term that not only advocates for the rights of women but is a force that
challenges the structural inequalities related to sex, gender, and caste,
thereby empowering individuals and society as a whole. There is a common
misunderstanding that only women can be feminists; however, feminism is a
collective movement that invites participation from all who seek justice and
equity (Murray). The term feminism was first coined in 1837 by a French
philosopher, Charles Fourier (féminisme),
originally referring to political, social, and economic equality of women,
liberating them from their dependency on men legally and economically
(Goldstein 92).
In Contemporary times, Women’s roles have
undergone a significant transformation. No longer confined to domestic roles as
caregivers, women are breaking free from the constraints of traditional rituals
and societal expectations. They are seen asserting their voices against
violence, pursuing diverse careers, and shaping their destinies in ways that
were historically denied to them.
Cinema
shapes perceptions, influences opinions, and upholds cultural norms. Women have
not been given enough space to flourish as individuals for ages. They have
historically been associated with men. In Gujarati movies, feminism is shown in
a variety of ways in different socio-cultural contexts. The women characters,
who claim their identity, defying established social norms, are frequently
portrayed in movies. This representation in mass media can be considered a
source to promote social change. To start a discussion and influence public
opinion, filmmakers use it as a medium to highlight issues like relationships,
expectations, the empowerment of women, and domestic violence. In Indian
culture and society, feminism is a dynamic force that opposes the long–standing
and deeply rooted patriarchal system. The paper aims to examine four Gujarati
movies from a feminist standpoint.
Hellaro is a Gujarati film by Abhishek Shah set in a small
Gujarati village in the 1970s. It revolves around a group of women who fight
against social restraints and patriarchy. Their rebellion is reflected in their
disobedience of the rules that the village's male authorities set up. Through
their journey of rebellion and self-expression, the film represents a unique
picture of female unity. Irrespective of their rights, wishes, or goals, they
are expected to submit to their husbands and elders in their community. There
are rigid traditions of this community that limit the freedom of women. The
movie is a critique of patriarchy. Garba, the traditional folk dance of
Gujarat, is forbidden for women of this village. The women subtly begin their
rebellion by performing it, disobeying the rules. This act of revolt symbolizes
their desire for independence and self-expression. It also reflects their right
and desire to live freely without oppression. The women finally come together
because of their shared experiences of oppression, despite being divided by
their distinct circumstances and individual struggles. They encourage each
other in their search for freedom and form a strong sisterhood in the same way
as they unite to do the forbidden dance. It demonstrates how women working
together can challenge and overcome repressive structures. The movie
exemplifies the strength that arises when women unite to protect their rights,
both individually and collectively.
The traditional
Garba dance, in particular, is shown in the film as a symbol of freedom and
rebellion. In this village, dancing is seen as inappropriate for women, and
those who perform it are seen as going against the established norms of the
community. They can express their desires and emotions in a manner that was
unavailable to them. Taking part in the Garba, though in secret, gives women
the opportunity to reassert their identity by speaking up in a society where
they have been ignored. Dance can be seen as a symbol of expression and freedom
in the movie. The women’s bodily ownership strongly contradicts the
expectations that were placed on them. One of the film’s most important scenes
is when the women, who have been socialized to remain submissive and obedient,
ultimately step forward and perform an act of disobedience. They transform
their once-restricted dance into a protest against stereotypes enforced by
society.
The
female characters play a major role as their growth is central to the plot.
Madhavi is one of the primary female characters. As a young woman, she is
constrained by traditional duties expected of her. Her husband anticipates her
being obedient and subservient, but as the narrative goes on, she acts as a
main force behind the women’s collective transformation. The role played by
Madhavi symbolizes women’s realization of their demand for autonomy and
individuality. Another significant character in the movie is Bhuri, who is
initially characterized as being more submissive. Like numerous other women in
the village, she had to face expectations and conventions imposed by society.
But as the movie goes on, she finds her inner strength in their collective act
of rebellion. Bhuri’s transformation shows that even the most oppressed women
may embrace empowerment. Gulabi is the downtrodden peasant woman who was afraid
to question the existing status quo and worried about deviating from her
assigned duty. But as she observes the women’s increasing unity, she gains the
courage to change. The development of her character demonstrates how societal
pressure can silence women, but they can reclaim their voice and power with the
right kind of support. As a woman in a patriarchal society, Sadhana is another
character who, at first, agrees to the limitations placed on her. She performs
her chores quietly, without questioning, and complies with village customs. But
as the movie progresses, she joins the group when she realizes the importance
of collective power as a means to transcend social norms. The female characters
in the movie represent many aspects of women’s lives under a patriarchal
system. Some are outspoken, others are restrained, and some are adaptable and
wiser. But what unites them is their shared journey towards empowerment and
self–discovery.
Another
Gujarati film, Kutch Express, questions the patriarchal conventions and upholds
equality between men and women. The film centers on Monghi’s life, including
her hardships, relationship with her son, friendship, love, and anger with her
husband. It dismantles the idea of women arguing over trivial matters. The film depicts the resistance and suffering
of Monghi, other women, and the rural women’s empowerment through creative
art. For Women of the village, the
creation of art as a part of their cultural obligation turns into a means of
resistance. The women in the movie form a group known as ‘Sisoti’, and at the
end of every week, they gather in one part of the village at night. The name of
the group itself alludes to the voice of women, as here they share and talk about
the issues they encounter in their daily lives. Furthermore, this kind of
organization allows women to spend time together and share their difficulties.
Women participate in several activities in ‘Sisoti’, including smoking, which
is not seen as normal for women in society. Another essential component of this
secret society is that they engage in discussing social issues related to their
husbands and family members, and how it impacts their lives. In a manner, it is
a setting where women develop special relationships with one another and offer
emotional, financial, and social assistance. The idea of solidarity results
from shared oppression (Rich). The scene where all the women of the village
help Monghi through the difficult circumstances caused by her husband’s
adultery is arguably the strongest illustration of unity in the movie. In a
later scenario in ‘Sisoti’, Monghi wins the competition and the money, but she
donates it to another ‘Sisoti’ woman in need due to financial difficulty rather
than keeping it for herself. In another scene in ‘Sisoti’, Monghi wins the
competition and the money, but she donates it to another woman in need due to
financial difficulties rather than keeping it for herself. This story also
illustrates how helping one another through tough times strengthens bonds of
solidarity. To give one example, Monghi’s son also suffers oppression due to
his father’s toxic masculinity beliefs. He gradually becomes his mother’s
strength. However, Kutch Express shows Monghi’s friendly connection with her
mother-in-law, which departs from the traditional portrayal. The film
deconstructs the typical representation of the relationship between
mother-in-law and daughter. Monghi’s mother-in-law, Baji, helps her and other
women fight against patriarchal power. All the instances in the movie depict
that if women come together and their shared experience leads to solidarity.
Rural women have always embraced folk art mostly as a leisure tool, which often
empowers and promotes their independence. Similarly, in Kutch Express, their
traditional art form operates as an instrument of resistance, much like Garba
in Hellaro. Creating art gives them a sense of identity and independence, and
it also unites the women of the village by fostering a sense of feminist consciousness
in them. Through a range of artistic endeavours, including traditional Kutchi
needlework, painting, and craft, these women are also financially independent.
Madan is a visitor to Kutch as well as an artist who helps these women regain
their space through art. Kutch Express emphasizes how the movie addresses or
challenges patriarchal norms, showcasing freedom and self-determination. It
depicts the experiences of many women who are fighting for equality and liberty
(Rambhai).
Var
Padharavo Savdhan offers a valuable perspective for analysing
the portrayal of traditional gender roles in modern Gujarati cinema. The film
critiques how marriage is often presented as the ultimate aspiration for women,
while simultaneously restricting their agency and independence. Despite moments
of humour and light-heartedness, the film reinforces patriarchal expectations
of women, particularly regarding marriage and family dynamics. The female
characters, especially the main character, are predominantly identified by
their relationships with men and their familial roles, with little focus on
their dreams or ambitions beyond these boundaries. Judith Butler defines gender
as an act influenced by social structures, emphasizing that it is defined not
by inherent traits but by actions (162). Likewise, certain societal norms
dictate behaviour for both men and women. This film questions the traditional
norms through the character of Aanal. The plot centers around Siddhant, a news
anchor who falls in love with Aanal, and their decision to marry. On the
engagement day, she surprisingly proposes that they move into her father’s
house after tying the knot. In a manner, it challenges societal norms that
dictate women to compromise and adapt after marriage, starting with leaving their
childhood homes.
In the
story, the male lead moves into his wife’s family home post-marriage, and the
challenges he faces in adjusting to a new environment are emphasized. The
narrative highlights the mindset of society where a man residing in his wife’s
home is perceived as weak or lacking authority. Traditionally, husbands are
expected to control the household, and relying on their wives contradicts this
expectation. The film represents the female character as resilient and
courageous, serving as a satire of a culture that venerates goddesses, yet
limits women’s access to temples.
The
2023 Gujarati film Meera, directed by Dilip Dixit, explores themes of women’s
empowerment and self-discovery (Rathod). The central character of the film is
Meera, a woman who defies societal expectations and seeks personal growth by
liberating herself from traditional gender roles. Although she lacks formal
education and has faced financial troubles after her marriage due to debt, she
chose not to be a victim; instead, she launched a small dairy business. Her
determination led her to speak out against oppression, inspiring other women in
her village to pursue financial independence and advocate for their rights. The
film showcases her bravery, resilience, and resolve as she works towards her
aspirations, all while confronting societal resistance. Meera grew up in a
small village steeped in patriarchal customs. The narrative highlights her
business skills, which serve as a source of inspiration and hope for her fellow
villagers. Her journey challenges the deeply entrenched oppressive mindset
within the community. Her accomplishments not only elevate her circumstances
but also compel traditionalists to confront their outdated beliefs. Through her
entrepreneurial achievements, she inspires the other women of the village,
fostering women’s independence. Depicted as a strong woman capable of
overcoming challenges in her life the film illustrates women’s power to break
barriers and empower themselves in the face of adverse situations, showcasing a
broader sense of women finding their voice, seizing control of their futures,
and challenging the limitations established by Society.
Conclusion
Historically,
Women in Gujarati cinema were often assigned to supporting roles or depicted as
models of traditional values. However, in more recent years, female characters
have begun to play roles as central characters, showcasing more intricate
personalities and narratives centered on their experiences. Gujarati films have
started to delve into themes of resilience, particularly highlighting
individuals or communities that confront personal, social, or cultural
obstacles and how they overcome them. These films illustrate the strength of
characters, especially women, who face challenges, advocate for their rights,
and pursue their aspirations. The industry is progressively adopting feminist
themes, challenging conventional norms, and presenting a more layered and
empowered representation of women. The depiction of women in these chosen
Gujarati films extends beyond domestic spheres, reflecting the multifaceted
realities of women’s ambitions and struggles. The increasing presence of
feminist storylines not only questions traditional gender stereotypes but also
inspires younger women to envision themselves in positions of strength,
independence, and Self-determination.
Works
Cited
Bhatt, Avni. Revisiting Gender Roles in
Indian Cinema: From Bollywood to Gujarati Cinema. Oxford University Press,
2020.
Butler, Judith. "Performative Acts and
Gender Constitution." The Performance Studies Reader, edited by
Henry Bial, 2nd ed., Routledge, 2004, pp. 154–166.
---. Gender Trouble: Feminism and the
Subversion of Identity. Routledge, 1990, p. 12.
Goldstein, Leslie. “Early Feminist Themes in
French Utopian Socialism: The St.-Simonians and Fourier.” Journal of the
History of Ideas, vol. 43, no. 1, 1982, pp. 91–108.
Hellaro.
Directed by Abhishek Shah, Swanand Kirkire Productions, 2019.
Jha, M. “Dancing through Patriarchy: Garba as
a Means of Resistance in Abhishek Shah’s Hellaro.” South Asian History and
Culture, vol. 13, no. 2, 2022, pp.215-230. Taylor & Francis Online, https://doi.org/10.1080/19472498.2022.2068482.
Khatri, J. A. H. "Gujarati Cinema: From
a Historical Perspective." Media, Culture and Society, vol. 22,
2021, p. 24.
Kutch Express. Directed by Viral Shah, Cinemawala, 2023.
Manzar, Benazir, and Aju Aravind. (Re)
Thinking women in cinema: The changing narrative structure in Bollywood,
www.academia.edu/43174907/_ReThinking women in cinema the changing narrative
structure in Bollywood. Accessed 23 Apr. 2025
Meera.
Directed by Samit Kakkad, 2023.
Murray, Rachel. “Demystifying Feminism: 8
Common Myths Debunked - Inclusion Geeks.” Inclusion Geeks, 8 Mar. 2024, www.inclusiongeeks.com/articles/demystifying-feminism-8-common-myths-debunked.
Offen, Karen. “On the French Origin of the
Words Feminism and Feminist.” Gender Issues, vol. 8, 1988,
pp. 45–51. https://doi.org/10.1007/BF02685596.
Patel, Amit. Gujarati Cinema: A Cultural
History. Gujarat University Press, 2018.
Prabhala, Anupama. Women in White: Femininity
and Female Desire in the 1960s Bombay
Melodrama,www.academia.edu/34665666/Women_in_White_Femininity_and_Female_Desire_in_the_1960s_Bombay_Melodrama.
Accessed 23 Apr. 2025.
Rathod, Vaishali. “Director Dilip Dixit
Unveils Empowering ‘Meera’: A Journey of Women’s Resilience- Exclusive.” The
Times of India, 27 Aug. 2023, timesofindia.indiatimes.com/entertainment/gujarati/movies/news/director-dilip-dixit-unveils-empowering-meera-a-journey-of-womens-resilience-exclusive/articleshow/103085992.cms.
Rich, Adrienne Cecile.
“Compulsory Heterosexuality and Lesbian Existence.” Journal of Women’s
History, vol. 15, 3, 2003, pp. 11-48. https://doi.org/10.1353/jowh.2003.0079.
Shekhawat, Sushila. "Shifting Images of
Women in Contemporary Indian English Feminist Fiction and Indian Hindi
Cinema." Literary Voice, vol. 1, no. 10, 2019, pp. 81–85
Swamy Premila D. "Negotiating Gendered
Spaces and Contextualizing the Female Body: Reading Indian Films." American
Journal of Economics and Sociology, vol. 81, no. 1, 2022, pp. 159–172.
Var Padharavo Savdhan. Directed by Vipul Sharma, IMDbPro, 2023.