Exploring caste in Hindi cinema

Exploring caste in Hindi cinema

By Swati Mehta

The popular genre of cinema does not focus on the problems of caste and casteism. Their main focus is to entertain, this cinema is called the mainstream cinema. Cinema focusing on social issues has become a part of the off beat cinema

THE CHANGE is mainly due to the confusion, which appears between caste and class. Class is more dominant in popular cinema today as the cinema goers in the city identify with it. Popular Hindi cinema has dealt with caste in a weird fashion. The popular genre does not focus on the problems of caste and casteism. Their main focus is to entertain and the plots therefore, are light. This cinema is called the mainstream cinema. Cinema focusing on social issues has become a part of the off beat cinema.

The caste system or the Varna system dates back to the Aryan age or the Vedic age. What started off as a flexible system based on occupation, has become a rigid target for creating vote banks. Initially, there were four basic divisions, namely; Brahmins the priestly caste, Kshatriyas the warrior caste, Vaishyas the business class and Shudras the slaves.

Post independence, the caste system was nullified by the fundamental rights, which prohibited discrimination on the basis of caste and proclaimed the right to equality. However, it retained scope for constructive discrimination for the upliftment of certain communities. Caste continues to remain a dominant force in the Indian society. Though one might contend that the urban Indian society has moved over caste, the assumption is not totally correct. Even in urban elite societies, caste plays an important role. Inter caste marriages are a taboo even today.

The New Indian Cinema saw directors like Shyam Benegal making films like Ankur and Nishant, which dealt with the oppression by the high castes. The trauma of a dalit woman is reflected by the character of Lakshmi, portrayed effectively by Shabana Azmi in Ankur. The film provides a deeper insight into the ugliness of Indian caste system, particularly visible in the rural areas.
Even Manthan touched on the caste divide in the villages. These films focussed on the socio-economic aspect of the caste system. Manthan brings in the class issue into caste. The moneyed do not want the cooperative to function, as everyone will have equal access and reward for the resources. Popular cinema in the mean time evolved as a more general form of social structure, more often than not glossing over the distinctions of caste. The caste of the characters in films based in urban India is never revealed. The revelation comes only if there is conflict of interests (girl and boy from opposing castes).

One could say that since the majority of the stakes in the film industry is held by higher castes, their films portray a very elitist image and way of life. The culture and traditions shown in the films, for instance are very brahmanical. Or the concept of class has taken over caste in popular cinema. For instance, in Karan Johar’s films or films made by Yash Chopra, one comes across titles like Raichand, Mehra, Melhotra etc, mainly high caste Punjabis who are rich businessmen. Their marriage ceremony is based on the brahminical tradition with the priest given supreme importance. Lavish weddings and related ceremonies are another feature, which reflects the feudal nature of the Indian society. The rich and flamboyance can be attributed to the same.

The film ends with the boy becoming rich if he is poor and if the girl is poor then her values are appreciated and she is married into a rich family. This is the subject matter of a large number of popular films like, Kabhie Khushi Kabhie Gham (2001), Chalte Chalte (2003), Dil (1990), Ishq (1997), Waqt (1965), Chor Machaye Shor (1974), Jab Jab Phool Khile (1965), Milan (1967) and many more especially in the 60’s and 70’s. Caste features predominantly in period films. Lagaan, for instance had an untouchable character called Kachara who lives outside the village. No one wanted him in the village cricket team except the protagonist Bhuvan (Aamir Khan), who considers him a valuable option against the British team. The film also has a character called Arjan who is a blacksmith, who is abused by the British officer Captain Russell.

Yet again the film’s protagonist is a high caste whose actual caste is not revealed by the filmmaker. Bhuvan could not be Kachra as low castes are supposed to be less powerful and away from the mainstream life. Another mainstream film, which touches on caste closely is Swades. It is a story of a NASA scientist, Mohan Bhargav, who comes to India looking for his governess. His search takes him to a village where the caste divide shocks him. There is a part in the film where Mohan visits a poor farmer in a remote village. Here, the farmer throws light on his plight and the modern face of casteism in the country.

The conversation with the Sarpanch and other village members go deep into the caste problem. Though meant for the popular genre, once released the film was put aside as a different genre, a serious film. Similarly a large number of films talking about caste issues in the popular genre are relegated to a different league of serious cinema.
Earlier, Bimal Roy’s films like Sujata (1959) talked about the caste issue. Sujata, is a romance between a Brahmin young man, Adheer (Sunil Dutt) and an untouchable woman, Sujata (Nutan). The movie has Gandhi's fight against untouchability and the myth of Chandalika in Buddhism as its subtexts, on the basis of which it tries to criticise the practice of untouchability in India.

Caste was once a part of mainstream cinema as seen in the 40’s and majorly in the 50’s. But the issue gave way to class, which became a feature of the Indian society with the entry of industries. The change is mainly due to the confusion which appears between caste and class. Class is more dominant in popular cinema today as the cinema goers in the city identify with it. From Brahmin to Shudra, the debate has moved to higher class and middle class with the middle class aspiring to become like the higher class and the latter trying to maintain its superiority. The nature of the struggle remains as it is in the case of caste, only the characters have undergone a change.

Courtesy www.merinews.com