Awaara

“Women have mainly played decorative objects in Hindi cinema for a long time. Or, even in films where they had important roles, they are more victims and martyrs or victimizers of other women” – Dr. Shoma Chatterjee (Award winning author, film scholar and journalist, India). Even though Hindi cinema focused more on Male protagonist centrality but during the 1950’s and 60’s Hindi cinema produced films which highlighted Female characters as orphans, wanderers and even Warriors at times. Despite the

In his essay ‘Melodrama and Tears’, Steve Neale proposes the melodrama as a genre emerged to occupy the space between tragedy and comedy. Neale quotes Denis Diderot and identifies melodrama as a primarily ‘touching’ art form, which has the ability to move audiences and induce physical reactions like crying. Neale discusses Diderot’s quote ‘the pleasure of being touched and giving way to tears’ as an important part of the melodramatic mode. Neale continues to illustrate in his essay how the tricks

In Vishal Bharadwaj's 2003 adaptation Maqbool, all the ingredients of a gangster film, a Bollywood film, and a Shakespeare play can be found. Although the connections to the play of Macbeth may not be demonstrated as prominently as in other adaptations, the essential structure is nevertheless present. In the center of the action is Miyan Maqbool (Irrfan Khan), the equivalent of Macbeth, who is second in command to Jahangir "Abbaji" Khan/Duncan (Pankai Kapur) and friend to Kaka/Banquo (Piyush Mishra)

were made by Ardeshir Irani, called Alam Ara (1913) and Kisan Kanya (1937) respectively. The period between 1940’s to 1960’s was considered the “Golden Age” of Bollywood as successful hits like Pyaasa (1957) and Kaagaz Ke Phool (1959) by Guru Dutt, Awaara (1951) and Shree 420 (1955) by Raj Kapoor and Aan (1952) by Dilip Kumar. Many Hollywood films have been inspired by Bollywood. The Western Musical Genre itself is an inspiration from Bollywood. !960’s to 1970’s saw some much appreciated actors