Revisiting Indian Cinema of '10s ( A Sunday Digest) - Why only a HEROine? Why not a Woman?

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Less Testosterone Powered Cinematic Highs (and Lows)

It’ll take some time for the movies to have more central Female Characters, but we haven’t had any less number of Movies this decade with Strong Women or Female Superstars, which once was only entitled with only a Few Directors and Actors. Especially in the latter half of the decade, we have seen some movies with Strong Women with their Sense of Judgement, Priorities and Persona and not reduced to a Hero’s Helping hand cum Love Interest. They have not been the face of soft-side for a more or less Larger than Life Protagonist. 


Take for example Chitra from Pellichoopulu(2016) or even Aruvi from Aruvi(2018), they have their character arc throughout the film, which is rare for a Cinema with a legacy of Women portrayed mostly as Professional “Lovers”. Jessie from VinaithaandiVaruvaaya(2010)/ Ye Maaya Chesave(2010),  Bhanumathi from Fidaa(2017) and also the woman in Action Thrillers like Goodachari(2018) and Uri: The Surgical Strike(2019) are also some examples of antonyms to blatant simplification of women as HEROines, resulting in positive acceptance of the audience. 


This correcting acceptance for a woman forced Commercial Directors(no offence to them) to at least create an identity, though clunky, for the leading heroine.  





As of Lady Superstar Movement, we have seen people rushing into the theatres for the FDFS of Nayantara’s  Ko Ko Kokila(2018) and the same with Anushka Shetty’s Bhagamthie(2018). Even the M.C.U’s tribute to the Women with an excellent sequence in their Avengers End Game(2019)was a roar in the theatre. The Lead as Women idea has started growing with more movies like Jackpot(2019) and Mahanati(2018) (4which also is a very special biopic. Catch you next Sunday)

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