Redefining Love with Bollywood: A New
Chapter in Indian Cinema with Aligarh and Shubh Mangal Zyada Saavdhan
Khushi Singh
Independent Researcher
Jorhat, Assam, India
Abstract: Sick, criminal, and
disordered are the attributes often associated with people who do not follow
the conventions laid by society. The sexuality or sexual orientation of
homosexuals is often scrutinized and criticized by the public. Even art and
literature sometimes subscribe to such biases of society when narratives are
driven by powerful entities. Similarly, Indian cinema did not include the
voices of marginalized sections for a long time. In 1996, Deepa Mehta’s Fire presented a homosexual love
story, which received criticism and backlash from political and religious
groups. Gradually, the mainstream media began to incorporate homosexuals, but
rarely promoted inclusivity; instead, the depiction was indeed an insult to the
community. Indian cinema experienced a drastic change when films like Margarita with a Straw, Aligarh, and
Shubh Mangal Zyada Saavdhan started redefining love between homosexual
characters with the amount of gravity that was required. This shift of the
LGBTQIA+ community from the periphery to the centre stage was significant in
the history of Indian cinema. The main aim of the paper is to study the
cinematic treatment of homosexual relationships in the Indian films Aligarh and
Shubh Mangal Zyada Saavdhan. Both films deal with issues such as homosexuality,
public outrage, and forceful media intervention.
Keywords: Gender,
homosexuality, relationship, sexual orientation, marginalized
LGBTQIA+ is an umbrella term used to represent lesbian,
gay, bisexual, transgender, queer, intersex, and asexual. The sexual
orientation of LGBTQIA+ individuals differs from the conventional relationship
between men and women. These relationships were beyond society’s comprehension;
therefore, they were met with criticism and alienation. Mostly, homosexuals
were ostracised, disrespected, and humiliated on cultural, social, political,
and religious levels. Homosexual relationships have been banned in India since
the British Raj, following the Victorian narrative of sexual activities; the
government and society sided with common stereotypes and collectively developed
homophobia over the years. Films have been instrumental in normalising
homosexual relationships in India. Initially, films like Fire (1996) by
Deepa Mehta had represented homosexual relationships, which received huge
backlash from cultural activists and political parties, resulting in the
destruction of theatres and a ban on further release. Some films showcased the
real marginalisation that existed in society, while most of them offered
unnecessary crossdressing, exaggerated and dramatic characters that often
misled the common masses. Films like Bol Bachchan (2012), Kya Kool Hain Hum
(2005), Raja Hindustani (1996), Humshakals (2014) presented homosexuals as
fillers or comic reliefs. The portrayal of homosexual relationships took a
serious turn with films like Aligarh (2015), My Brother… Nikhil (2005), Ek Ladki
Ko Dekha Toh Aisa Laga (2019), Shubh Mangal Zyada Saavdhan (2020), Kapoor and
Sons (2016) and Margarita with a Straw (2014).
Society views homosexuals as patients with mental
disorders who need treatment to be ‘normal’, and have to fit into the category
of either man or woman. They believe that such sexual orientation is unnatural
and the outcome of peer pressure or bad parenting. In the film Shubh Mangal Zyada Saavdhan, the
invention of black cauliflower is been projected to reflect upon the attempt of
humans to modify nature and its elements. The black cauliflower is symbolic in
nature as it highlights how consuming it was hazardous to humans, yet Shankar
Tripathi’s character tries to emphasize on its benefits. Similarly, society
tries to manipulate, threaten, or convince individuals to change their identity
and sexual orientation. However, towards the end post supreme courts verdict on
homosexuality, Tripathi realised that his creation, in other words, his
prejudice, was baseless and harmful for people.
To strengthen the stance of homosexual relationships,
Prof. Siras’s poem “Fear not the dawn…” is mentioned in the film. During the
court hearing, Prof. Siras was translating the poem for Deepu as he was aware
that his love can never be considered as ‘normal’ in the public eye. Thus, he
wanted his poem to be comprehensible to Deepu, who had always considered love
as an emotion, not a gender-oriented phenomenon.
The films Shubh
Mangal Zyada Saavdhan and Aligarh
project the themes of love and homosexual relationships. However, the
difference lies in the attitude of the characters: in Aligarh, the protagonist is serious and a victim of conspiracy,
whereas in Shubh Mangal Zyada Saavdhan,
the protagonists embrace their relationship and are unapologetic about it.
Siras is a closeted gay man, while Aman and Kartik are vocal about their views,
opinions, and sexual orientation. Aligarh
is a biography with a more serious and realistic tone, while Shubh Mangal Zyada Saavdhan is a
romantic comedy in which the characters do not subscribe to the stereotypes
imposed by society.
The film Aligarh,
directed by Hansal Mehta, is based on the real-life incident that occurred in
the Aligarh Muslim University,
where a Marathi professor, Dr Shrinivas Ramchandra Siras, was suspended because
of his sexual orientation and later on committed suicide. Manoj Bajpayee (as
Ramchandra Siras) meticulously imbibed the loneliness and isolation faced by the
professor, reflecting upon the reality of the LGBTQIA+ before the
decriminalisation of homosexuality. Journalists invaded Siras’s home and
recorded his private moments with his partner forcefully (Aligarh 40:31- 42:30). His private life became the subject of
public scandal, and the mob burned effigies to express their disagreement and
anger at his sexual relationship with a man. The biases of social and legal
institutions are showcased in which sexual orientation is considered a sin,
whereas invasion of privacy is normalised (Aligarh
59:15- 1:00:19). Professor Siras is projected as an ‘outsider’ because he was
the only Marathi professor in the university appointed as chairman, which
evoked jealousy among his contemporaries, resulting in the conspiracy. Also,
because of his sexual relationship with his lover, he became a stranger to the
rest of society. He was a soft-spoken individual, which contrasts with the
traditional masculine traits. The biographical drama focuses on the emotional
depth and tragedy faced by gay men in society and the queer melancholia, since
there was no scope for acceptance or betterment.
In Shubh Mangal
Zyada Saavdhan, directed by Hitesh Kewalya, the protagonist Ayushmann
Khurrana (as Kartik) and Jitendra Kumar (as Aman) celebrate their sexuality and
challenge the gendered norms, which is symbolically represented through bright
coloured clothes worn by Kartik. The film delves deeper into the core element
of relationships and highlights the need for companionship and affection with the
very famous line in the song “mere liye tum kafiho” (you are enough for me).
This resistance against the norm associated with masculinities in Indian
families reflects Butler’s concept of performativity. Humour and comedy have
been implemented in the film to make it appealing to the audience while subtly
highlighting the themes of equality. The assertion of the relationship by the
characters in front of their family and society, in an exaggerated manner,
hints at the presence of confidence and independence.
Michel Foucault in History of Sexuality focused on
“the sexualized and sexual body as a locus of power play, where different
forces like law or medicine mapped and categorised the body in particular ways
before ‘acting’ upon it” (Nayar 186). Homosexuality contradicts the standards
and norms and is highly affected by power relations. Thus, homosexuality was
considered deviant. While discussing stereotypes and sexual repression,
Foucault provides four principal operations of power in which perversions of adults
were under scrutiny, sexuality was compartmentalised, a scientific basis for
perversions was needed, and homosexuality was considered a disorder.
The thematic similarity between Foucault’s seminal work
and Aligarh lies in the portrayal of
the repression of homosexuality and the manner in which it is controlled
through discourses. Homosexuality can be interpreted as a site of surveillance,
control, and judgment in the film. The role of power dynamics in shaping
discourse can be observed in the film when media and university employees
criticise and control Siras’s life (Aligarh
30:05- 31:32). These power structures, on one hand, normalise heterosexuality
and, on the other, marginalise homosexuality, resulting in the creation of
binaries. Society, the judiciary, religion, and culture adhere to these
binaries, and as a result, Siras is treated as a criminal and must ‘confess’
his ‘immoral conduct’ publicly. Till the end of the film, Siras denied being
categorised as ‘gay’ and always insisted that he was just ‘in love.’ Throughout
the film, Siras’s silence and resistance act as a contradictory force,
reflecting the dynamics of power.
In Shubh Mangal
Zyada Saavdhan, the attempt made by Aman and Kartik to convince Aman’s
parents to accept their relationship implies the societal discourse and its
control over the sexual orientation of an individual. Heterosexuality is
institutionalised as the norm, whereas homosexuality and other sexualities are
suppressed, hidden, and criticised.
Aman’s family acts as a primary site of resistance
against their relationship, as it is against the conventional societal norm.
For ages, homosexuality has been considered a sin, crime, and psychological
disorder. Homosexuals must be either punished or treated medically. Such
reinforcement of sexuality can only be confronted through resistance, as Aman
and Kartik do in the film. Before the climax the stereotype is addressed in a
humorous manner when Kartik stands on the terrace in front of Aman’s family and
makes an announcement on microphone stating that Shankar Tripathi (Aman’s
father) has an incurable disease named ‘homophobia’ (Shubh Mangal Zyada Saavdhan 1:09:55- 1:11:11). Aman’s father
considers his sexuality to be a disease and thus tries to ‘cure’ him. He tries
to explain his love to his mother and father by mentioning the scientific
dopamine reaction that takes place in his body when Kartik touched him for the
first time (Shubh Mangal Zyada Saavdhan
48:43- 50:03). The use of sarcasm and humour makes the narrative more
digestible for the common masses and compels them to rethink existing
stereotypes.
The discussion about queerness becomes debatable because
most people would not prefer to be part of a conversation regarding sexuality.
This transition can be observed through the films. In Aligarh, the protagonist is invisible and victimised, while in Shubh Mangal Zyada Saavdhan, the
protagonists flaunt their relationship and express their love in front of their
parents and society. They reject the idea that homosexuality is shameful and do
not subscribe to the expectation that gay couples should hide their
relationship. This public display of love and affection is radical and can be
considered a form of resistance against the stereotypes that exist in Indian
society (Shubh Mangal Zyada Saavdhan
1:38:01- 1:39:46).
The character of journalist Deepu (played by Rajkumar
Rao) is very significant in Aligarh
as it enables the audience to sideline their prejudices and observe the matter.
He confronted his senior colleague and Prof. Sreedharan, expressing concerns
over privacy and the two journalists who broke into Siras’s house and tarnished
his image by making his personal life public. These contrasting characters also
represent the sections of society in which one subscribes to the stereotypes and
the other tries to bust the myth and interpret reality on their own. The
“fourth pillar of democracy” deviates from its foundational values, ethics, and
moral responsibility, as seen in the film, where sensitive matters are viewed
as a source of public engagement and commercial gain. The media house is mostly
driven by a political agenda and adheres to stereotypes rather than presenting
unbiased news.
The constitutional rights are questioned in the films as
the characters have no freedom or independence to express their love in
personal life. And in Aligarh, the
sexual preferences led to public outrage and social intolerance, which
disturbed the mental well-being of Siras. And in Shubh Mangal Zyada Saavdhan, the denial by the family and relatives
created a drift among the characters and their family.
Thus, to conclude with the cinematic representation of
homosexual relationships, it can be observed that the absence of identity,
freedom and fundamental rights was the root cause of the isolation faced by the
gay community. Homosexuals are seen as criminals and sexual predators with
uncontrollable desires. Bullying, violence and honour killing are the
repercussions of homophobia. Films like Shubh Mangal Zyada Saavdhan, the public
display of affection signifies the celebration of the homosexual relationship.
Advocating for the voices of the queer will help in eradicating societal
prejudice and create a safe space for them to thrive. Even though Shubh Mangal Zyada Saavdhan in
commercially driven film, it projects the optimistic approach of the
protagonists, hinting towards a hopeful future. Aligarh reflects upon the conservative Indian society, while Shubh Mangal Zyada Saavdhan deals with a
conservative Indian family. But both films make an attempt to challenge the
stereotypes associated with homosexuality. Through the portrayal of various
aspects of homosexual relationships, both films evoke a sense of
homonormativity.
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