Sex is No Longer a Dirty Word in Indian Cinema

Does sex sell everything everywhere? Perhaps, sex sells everything, everywhere and everytime. What is surprising is seeing who succumbs to its pressures and bowls over the brazenness.

Until now, sex was only inkled at - cut to flowers dancing in the breeze or birds necking or thundering and lightening of clouds. Blink and you 'll miss, Sex was almost absent from the mainstream Indian cinema. But now Indian cineastes are in for a shock; a string of films featuring previously taboo story lines, explicit dialogue and sex scenes are hitting the country’s silver screen every month.

Nudity is still not the cup of tea of our directors as to maintain the decorum of family films, but a lot of kissing, condoms and rampant female sexuality takes them a world away from the coy, fluttering eyelashes and mercuric adayein of yesteryear.

I don't think today's youngsters would prefer watching a kissing scene hedged by flowers. A good item number, certain blue dialogues or scenes that grab eyeballs work in favour of a film. Earlier it was either the siren's role to show some skin or cabaret artistes like Helen doing special numbers in sexy outfits.

No prizes for guessing that actors don't mind raising their hemlines or getting steamy onscreen. After Malaika Arora Khan, Katrina Kaif and Deepika Padukone's item songs, viewers are again ready to dabble into the sea of special numbers. One of them is Chikni Chameli of ‘Agneepath’, with frisky Katrina Kaif and people are looking forward to for titillation.

Why does the Censor Board have different norms for reality shows and films?

In my opinion, Giving A or U/A certificates won’t deviate the viewers now a day. Moreover, adult rated movies garner more interests in box-office. Film appreciation has changed. Not all the films are targeted at families. In fact, in many families, kids and parents go separately for the same film. Even the censors are becoming more liberal and lenient. Bollywood and Censor Board share a love-hate relationship. Sometimes Bollywood is not happy with Censor Board norms and sometimes Censor Board raises their eyebrows on Bollywood films. Now Karan Johar's upcoming film ‘Ek Main Aur Ekk Tu’ starring Kareena Kapoor-Imran Khan has come under the watchful eyes of Censor Board. Since KJo's film uses the word 'Sex' with the highly vigilant Censor board objecting to it has asked the filmmaker to remove the word from the trailer in order to procure a U-certificate.

On this imbroglio, KJo quipped, “Both censor and I have a same problem. Well, we don't have sex life.” Similarly, director Sudhir Mishra was miffed with the Censor Board when he was asked to drop the word 'saali' from the title of his movie ‘Yeh saali zindagi.’

Earlier Times

Le'ts dig into the history of Indian cinema as well. The coyness of Bollywood underwent considerable change in the 1970s when B.R. Ishaara made ‘Chetna’, a hard-hitting take on a hooker (Rehana Sultan) and her lover's (Anil Dhawan) vain efforts to rehabilitate her.

Another 'bold' spin-offs, including Ishaara's ‘Charitra’, which introduced Parveen Babi as a call girl, and 'Bazaar Band Karo', and also Feroz Chinoy's 'Do Raha' and Vijay Kapoor's ‘Call Girl’ remain trendsetters.

Mumtaz’s ‘Aaina’, her farewell performance before marriage, was awesome. A simple rustic Brahmin girl who becomes a sex worker in the city to support her large family is spurned by them when they get to know of her means of income. In Gulzar's ‘Mausam’, Sharmila Tagore gave an award-winning performance as the streetwalker Kajri who ends up trying to seduce her own father. In Lekh Tandon's ‘Doosri Dulhan’, Shabana was the white slave who rents out her womb to a childless couple. In the same fashion, Tabu- Sushmita Sen starrer ‘Filhaal’ was presented, keeping the backdrop of surrogate mother.

The most wanton and blithe brothel movie of the last century was Shyam Benegal's ‘Mandi’ where a star studded gallery of super-talented actresses - Shabana Azmi, Smita Patil, Neena Gupta, Ila Arun, Aneeta Kanwar and Soni Razdan; captured all the angles with recklessly breathtaking performances. Instead of being coy or raunchy, ‘Mandi’ preferred to remain satirical about the flesh trade.

Recent Times

Known for its bold attempts, Bhatt camp movie, ‘Jism’ broke the mould with a strong lead woman who unashamedly uses her body and her sexuality to get the men in her life to do as she wants. Model turned actress Bipasha Basu’s acting career was salvaged after her intimate scenes with her ex-boyfriend John Abraham in this movie. Konkona Sen Sharma-starrer ‘Mirch’ was endorsed as the India's first erotic film. Also, Mallika Sherawat was touted the most upfront celluloid sex symbol of Bollywood when her movie ‘Murder’ was released. Her smutty, erotic and tongue-wagging moves in all her movies left us salaciously stunned.  Last year released ‘Love, Sex Aur Dhokha’ thrived on its bold theme, bawdy dialogues and titillating scenes. 

Our serial kisser of Bollywood, Emraan Hashmi was seen in ‘Murder 2’, which revolved around the dark world of prostitutes, cross-dressers, pimps and stuffed reel of lewd scenes. A lot of steamy action is always guaranteed in his movies and we bet the same and the title also suggests for his recently released ‘The Dirty Picture’.

Upcoming saucy flick ‘The Dirty Picture’ is freezing everybody’s eyeballs due to its unforgettable rollicking music, the lusty kissing, raunchy dialogue and no-holds-barred story lines which caters a refreshing eye-opener for Indian viewers.

If Shah Rukh Khan and sex had sold earlier, the latter seems to have won the round for now! Bollywood filmmakers especially the GenX directors take on bold themes and use abusive language liberally in a bid to depict reality. In a competitive industry where numerous films release every week, item numbers and double-entendre dialogues perhaps help a film attain its USP and obviously this makes a film more saleable.

Some actresses who romanticized the image of the sex worker beyond all norms of the flesh trade.

Nargis in Adalat

Vayjayntimala Bali in Devdas

Suchitra Sen in Mamta

Meena Kumari in Pakeezah

Rekha in Umraon Jaan

Tabu in Chandani Bar

Namrata Shirodkar in Vaastav
Madhuri Dixit in Devdas

Neha Dhupia in Julie

Priety Zinta in Chori Chori Chupke Chupke

Rani Mukerji in Laga Chunri Mein Daag

Bollywood’s Festive Fervour

As it stands, when festival comes it brings people together outside to enjoy movies, music fests, county fairs, carnivals, religious observations and to name a few. The Industry who keeps their eyeballs steady for the most anticipated festivals of the year is Bollywood.  Apna tinsel town takes no time to fasten their seat belt and takes movie geeks for the roller coaster ride especially when the crowds are at high-fever pitch during festivals. You cannot hold your adrenaline rush when the bigwigs of Indian Film Industry ready to woo you on-screen during Festive-Freaky-Friday.

Movie makers always keep their hawk eyes on the festive season as most of the films released this time are the top grosser of B-town. Now the trend in Bollywood is to book the dates of release in advance like Salman-Katrina Ek Tha Tiger is slated for release on Eid 2012 and Aamir Khan has announced to release his much awaited action flick in Christmas 2012. I would like to add this with instances of superstitions, If you though a perfectionist likes Aamir Khan would not need to resort to such beliefs, then you are mistaken. The actor is in love with Christmas, he want all his releases to hit the theater during this lucky time. That’s why after Taare Zameen Par, he scheduled the release of Ghajini and 3 Idiots during the December festival. Again, Aamir Khan starrer – Dhoom 3 is hitting box-office on next Christmas .

Similarly, Salman Bhai is very particular about his Eid releases. His popularity seems to be growing by leaps and bounds every year. If we will rewind his career graph and take a gaze at the box-office performance of the actor’s last three Eid releases: Bodyguard (2011), Dabangg (2010) and Wanted (2009). STUNNED!

This keeps up Bollywood with the belief that festival times are big money spinners. Another big festival, Diwali promises to be more critical for Bollywood than any other and producers always braces up for huge releases. Diwali, Oct 26, which will see the release of Shah Rukh Khan's long awaited Ra.One. This festival has been the most favoured time-period to release a big-banner movie.

The next year will have Karan Johar's remake of Agneepath, featuring Hrithik Roshan and Priyanka Chopra and Reema Kagti's Dhuan, starring Aamir Khan, Rani Mukerji and Kareena Kapoor, both hitting the box office on auspicious Republic Day, Jan 26. Although they are trying to settle down with different dates, so that movie can garner the most in the public eye during their respective releases. 

Sometimes the movie’s release in mid-week instead of the traditional Friday, allowing for longer weekend viewing than usual due to certain festivals fall in between the weekdays and this add more paisa to the box-office.

Festivals in India have traditionally been a time for big-ticket releases. And often with some of the biggest stars whose professional rivalry added cartridge to the fireworks of the festive week, who can forget Om Shanti Om (SRK-Farah Khan) -- Saawariya (Sanjay Leela Bhansali) battle of 2007, the Don (SRK) and Jaan-E-Mann (Salman Khan-Akshay Kumar) tussle of the year earlier are just some examples.

There are also other festivals and national holidays which witness bumper releases. Also in India everyday you will come through one or another festival but everytime film becomes a reason for a get together and to assemble your dear ones. So, it is true that Bollywood’s cracker always lasts with more light and sound to spread happiness among us.

I would like you to take through memory lane of all the big releases of the decade during the festival of lights. Few were really enthralling blockbusters which are still ruling in our hearts and few bite the dust. So, get ready to give your ratings.

Golmaal 3 and Action Replayy (2010)

Blue, All the Best and Main aur Mrs Khanna (2009)

Golmaal Returns and Fashion (2008)

Om Shanti OM and Saawariya (2007)

Don and Jaan-E-Mann (2006)

Garam Masala, Kyun Ki and Shaadi No 1 (2005)

Veer Zara, Aitraaz and Naach (2004)

Pinjar, Inteha, Kagaar, Raja Bhaiya and Sssshhh (2003)

Jeena Sirf Mere Liye, Annarth and Waah Tera Kya Kehana (2002)

Tera Mera Sath Rahe, Ye Zindagi Ka Safar, Deewanapan and Abhay (2001)

Mohabbatein and Mission Kashmir (2000)

Cashing in on Controversies

Star power, big banners, youthful scripts, fresh faces, chartbuster music, unseen stunts, out-of--box creativity, innovative marketing strategies, reality checks are the be-all and end-all for a blockbuster. All these elements make a winning combination, making the cash registers sing like a canary.

With intense competition at hand every Friday when several movies are released, the film that has an extra edge promises to be a box-office success.  Controversy helps the pre-release publicity, and is a recurring feature of each and every film.

So, what’s the most important ingredient to make a blockbuster?

Create ingenious controversies to sail through at the box-office.  Today, Bollywood and controversy have an inextricable link, and the relationship seems to be for keeps. Marketing and production crew adopt this effortless and facile strategic formula at the films’ pre-release. Seldom controversies have a life of their own, and that eventually goes in favour of the movie.  Such rows have a compelling pull for the views to make a beeline for the turnstile.

In early days when digital medium were at its nascent stage, artists used their magical brush to paint film posters. Posters and banners were the only ways to promote the movie. Later, TV, radio and loudspeakers took up the publicity mantle.

Nowadays, the producers have started a novel way of promotion, where leading stars participate in reality shows on TV. And in a similar way, TV channels also hope to boost their TRPs. News channels are in the same race. They invite a leading actor or a director on primetime to chat and promote a film.

While some of the rows may have a basis, many still pander to titillation and cheap popularity stunts. Recently, the release of Shahid Kapoor-starrer Mausam was delayed by a week because the Indian Air Force objected to a few film sequences. Last month, when Prakash Jha’s Aarakshan was released; several state governments like Uttar Pradesh and Punjab banned the movie as it delved into quota raaj in Indian education system, a taboo topic.

Prior to that, Ragini MMS and the first trailers of Delhi Belly were controversial for varying reasons. Real-life Ragini threatened to sue Ektaa Kapoor, producer ofRagini MMS, for basing the film on her life story.

Delhi Belly courted trouble for its lyrics, dialogues and overall look and feel.

Aamir Khan, the producer and ace marketing brain behind Delhi Belly, planned negative promos to hog the limelight. Khan’s other recent films like Fanna, Peepli Live and Dhobi Ghat thrived on controversy-fuelled publicity. And, his shrewd marketing acumen left his detractors awe struck.

Dancing diva Madhuri Dixit's comeback vehicle Aaja Nachle had hit a roadblock in Uttar Pradesh because of one of the songs’ lyrics had used the word mochi that evoked outrage from people belonging to that community. A similar problem was faced by Kaminey director Vishal Bhardhwaj, who had to chop teli from one of his super-hit tracks. Filmmakers of Dhobi Ghat and Billu Barber also faced problems while releasing their movies.

Plagiarism is another stick to beat with.  For instance, music composer Ram Sampath dragged director Rakesh Roshan and his brother Rajesh Roshan to court, alleging that they duo had “directly lifted” his music for the Krazzy4album. 

Jo Bole So Nihal earned Sikh religious leaders’ ire for denigrating their faith. Similarly, Sing is King was decried by the Sikhs community.

Deepa Mehta’s Fire incurred the wrath of Hindu zealots because the film portrayed a lesbian relationship between two rejected wives, essayed by Nandita Das and Shabana Azmi.

The screening of Bombay and Black Friday based on 1993 Mumbai serial blasts was withdrawn from cinema halls, fearing widespread protests and violence.

Besides several movies have been banned like Parzania, Sins,  Ek choti si love story, Gangajal, Bandit Queen, Girlfriend, My Name is Khan. Each of them either touched some sensitive issues or crushed sentiments of a few communities.

Controversy may be the best way for successful promotion of a film, but it doesn’t guarantee box-office success.