Popular Cinema Influencing Human Behaviour

 

Popular Cinema Influencing Human Behaviour

Cinema is the greatest mirror of humanity’s struggle. You see this alternative world but you’re part of it. Everybody is part of it. This is our world.

-Lav Diaz

 In 2016, a Snapdeal employee, Dipti Sarna was abducted from outside the metro station. When the accused Devendra was interrogated, he said that, he was following Dipti for 14 months and was influenced by the character of Rahul (Shah Rukh Khan) from the movie Darr (1993). In 2013 a 12^th standard kid was caught cheating and the steps involved were similar to that of Munna Bhai MBBS (2003). The cheating syndicate leaked the papers and answers were provided via SMS. We see fiction inspired by real life incidents. While these are true incidents based on fiction. These are just two among the several cases where audiences have got inspired by films and gone way ahead.

 This makes us question, what is the difference between the reel and the real? Do some audiences fail to read between the blur lines? Well, cinema is a reflection of the society, and the characters are our mirror image. Since ages films have been catering to the customs, beliefs and culture of the society. And, it does have a significant impact on the ideologies of the viewers, especially, ethnic stereotypes and gender. Movies like, Pink (2016), Lipstick Under My Burkha (2016), Jallikattu (2019), Newton (2017), A Death In the Gunj (2016) have successfully changed the narrative of Indian Cinema. But these are what the mainstream media calls ‘underrated movies’, which do not come under the popular genre. However, in the past few years’ movies like, Raazi (2018), 22 Female Kottayam (2012), Moothon (2019), Rajkahini (2015), have made an attempt to break social stereotypes and were successful in the box office too. But from ‘Mard Ko Dard Nahi Hota’ to Kabir Singh, glorification of toxic masculinity and normalizing violence has been a problematic but inherent part of Indian cinema.

 

Let’s, reiterate the fact that negative stereotypes and archetypes of both the genders are prevalent in our society. Movies like Dabaang (2010), Grand Masti (2013), Bahubali (2015) (yes, Prabhas disrobing Tamannah is harassment), are widely accepted by the audience because they are relatable. Harassment, misogyny, casual sexism and rape culture does exist in our society and thus, as audiences we tend to overlook the subtle patriarchy presented in films. Sara Zaker, renowned Bangladeshi actor, entrepreneur and social activist said, “Mediascape does reflect on the mindscape of the people.” Therefore, the innumerable films that represent the male protagonist as the source of power, dominance and superiority is a reflection of the society. But at the same time these films are propagating the same stereotypical archaic ideologies and gender conventions. Every other Bollywood ‘masala’ movie, or Indian film having a prominent ‘male’ star cast follows the same mantra. The man in these films, is a saviour, has mandatory six pack abs, is a family man, the best lover, basically, he is the epitome of perfection. But if we take an in-depth look at these male characters, we shall see how they cater to conventional gender roles. The female characters in these movies share pretty less screen time and are mere love interest. Their sole purpose in the movie is to dance to some songs, be the damsel in distress who can then be rescued by the ‘her’.

 

Ashique Selim, lead psychiatrist & MD of Psychological Health and Wellness Clinic in Dhaka says, “Learning from watching everything that happens in front of us impacts the most in our society, where media portrayals intensify the discourse.” The culture that we live in already has certain archetype and behaviour, which people follow. Since a long time, popular cinema has trivialized emotional violence, glorified chauvinistic male behaviour and portrayed women as mere objects. This conservative portrayal of gender effects the behaviour and mindset of both men and women.

 Varun Dhawan in Humpty Sharma Ki Dulhaniya (2014), stalking and harassing Alia Bhatt, is portrayed as mere expression of love. Fahadh Faasil stalking Andrea Jeremiah in Annayum Rasoolum (2013) is represented on the screen with romantic background music. Thus, we see how film makers have normalized such behaviour which makes the male audience think this is the ideal way to woo a girl. Dialogues like, ‘ladki ke naa me hi haa hoti hai’ (when a girl says no, it’s actually a yes) intensifies the preexisting toxic male behaviour of not taking ‘no’ as an answer.

However, a pathbreaking movie like Pink made it clear that ‘no means no’. The Malayalam movie, ‘Ishq’ (2019) made a massive attack at toxic masculinity rather than glorifying it. It showed how toxic nature and male ego can lead to horrifying consequences. The character of Sachi (Shane Nigam) never comes across as a hero, but is a faulty character. Recently, Indian films have introduced to us several feminist fathers, who have done away with the angry, strict and authoritative fathers of the past. Audiences and the society does want more characters like Bhaskor Banerjee (Piku), and Narottam Mishra (Bareily Ki Barfi).

 

But the question is, do these characters stay with us as much as an Arjun Reddy, Raj, or Bahubali. Representation of progressive, vulnerable, flesh and bone men on screens are mere characters. While, the angry young man, well-built, saviour lover boy is idolized. Strong, opinionated, independent female characters are rare. As audiences we cannot deny the fact that the narrative and portrayal of gender on screen is changing. But the change is slow, women-centric movies still does not fall under mainstream cinema. Film makers do have creative freedom but at the same time they have a social responsibility, especially in a country like India where films are more than mere source of entertainment.

 

 Image sources:

https://www.buzzfeed.com/sahilrizwan/trope-tripe

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