Although the motion picture industry in India can be traced back to over a century ago, the Bollywood film industry did not blossom until the mid 20th century. From the late 1990s, the film industry became the chief competitor of the Hollywood film industry (Rajadhyaksha &Paul 10). This industry targets both the local and international audiences.
Attracted by the increasing number of members of the middle class in Asia, international investors are currently flocking to India to fund the film industry. With the help of foreign investments, the industry has been able to attain greater audiences. As evidence that the industry is progressing, more newspapers and magazines have come up with columns that preview Hindi movies periodically.
Equally, websites linked to the industry continue to emerge as film distributors widen their channels globally. Despite this success, critics from western countries have maintained their dismissals against Bollywood films as unrealistic, absurd, melodramatic, ridiculous, or simply worthless cinema. In this paper, I seek to refute these criticisms by focusing on the industry’s popularity, its success, and the future of Bollywood films.
To prove the critics wrong, I analyzed some of Bollywood’s Blockbusters in the recent past. In the year 1995, the movie Dilwale Dulhania Le Jayenge took the world film industry by surprise when it was declared an all-time Blockbuster. The film, which was scripted and directed by Aditya Chopra won several awards and attracted both local and international audiences.
Unlike other Indian movies produced before, the film appealed more to non-Indian and Indian expatriate audiences. The film was shot in foreign locations, and its story revolved around two Indian expatriate lovers with different cultures (Dilwale Dulhania Le Jayenge). Before the success, critics had asserted that Hindi films were impractical and overdramatic.
Due to this, they believed that the movies could only appeal to the locals. However, with the success of such Blockbuster movies, some critics have begun to appreciate the films. Dilwale Dulhania Le Jayenge is not only realistic but also a worthy film. It highlighted the real issues faced by Indian expatriates when their traditional values clash with their modern values.
Another Bollywood Blockbuster that has enhanced the reputation of Hindi films is Fannie. Yash Raj Films produced it in the year 2006. The film won several awards and attracted both local and international audiences.
After watching the movie, the audience will be surprised at the talents of the Bollywood actors. The film’s story focuses on a relationship between a blind girl and her boyfriend (Fanaa). For me, I did not find the movie exaggerating or absurd as some critics assert about Bollywood movies. Instead, the film was entertaining and hilarious.
I believe that most of the critics have never watched several Bollywood films for them to come up with comprehensive conclusions. As such, their criticisms are based on prejudice and hearsay. According to one scholar, propaganda about these films is being perpetuated by the Indian and international media (Ganti 200). For instance, it is alleged that Bollywood produces up to 1000 films in a year.
Whereas, facts indicate that approximately 200 films are produced. 20% of these 200 films reach the international market (Ganti 200). Considering the number of years during which the film industry has been developing in India, the above progress should be considered as successful rather than terming it worthless.
I find it illogical when critics dismiss the Bollywood’s success based on culture. Bollywood films are distinct from those produced in Hollywood or other foreign motion pictures. It is not factual to categorize these films as unrealistic. Films produced in America portray American culture. Equally, Bollywood films portray the culture of India. For instance, the film Mother India is renowned for its loyalty to Hindu culture (Chakravarty 150).
Even though western culture differs from the Hindi one, and each is appreciated in its region, western audiences should not criticize Hindi culture portrayed in Bollywood films.
They should rather appreciate the diversity that exists in the world. I believe that those considering Bollywood films as worthless would like the Hindi movies to be acted or produced as the western ones. If such desires are fulfilled, I am certain that Bollywood films would lose their popularity in Asian markets.
Also, Bollywood films are considered worthless because of the prejudices held against Asians in the west. In the US, film actors of Asian origin are prejudiced and under-represented in the film industry. As a result, Asian American societies claim that their under-representation in the film industry has not only stereotyped them but also limited their roles in the industry.
According to these societies, the industry preserves specific roles in the films for Asian American actors. By doing so, the film industry has enhanced stereotypes and prejudices against Asian American societies. For instance, in the most popular American films, Asian American actors are allocated a few minor roles as compared to the other actors from the minority communities.
Through these, the inherent risks of portraying false traits about Asian people have been enhanced. I believe that western critics of Bollywood films came up with the idea that Asian films are worthless based on these prejudices.
They should generate logical conclusions about Bollywood films after watching films directed and acted in India, rather than rushing to conclusions after watching American bias films that allocate Asian American actors a few minor roles.
This implies that the idea of terming Bollywood films worthless is not based on facts but rather on prejudices and hearsay. I believe that Bollywood film directors and other movie experts should produce films challenging these stereotypes in the international market. Through this, the stereotypes held against Asians would be demystified.
In conclusion, I would like to emphasize that the Bollywood film industry will continue to progress in the future despite the disapproval of critics and western audiences. Hindi films are not only realistic, but they are also capturing and worthy of watching. The films draw attention to the real issues faced by the natives of India and the Indian expatriates.
As such, most of the critics have never watched enough number of Bollywood films for them to come up with comprehensive conclusions.
Their criticisms are based on bigotry. I believe that Hindi films have attained a level where they can dominate the international film market. Despite criticisms, the industry has become a global filmmaker. This industry does not only target the local markets but also international markets. Therefore, it is apparent that the industry will be a global leader in the future with or without the critics’ disapproval.
Works Cited
Chakravarty, Sumita S.. National identity in Indian popular cinema, 1947-1987. Austin: University of Texas Press, 1993. Print.
Dilwale Dulhania Le Jayenge. Dir. Aditya Chopra. Perf. Shahrukh Khan. Yash Raj Films, 1995. VHS.
Fanaa. Dir. Aamir Khan. Perf. Kajol. Yash Raj Films Home Entertainment, 2006. VHS.
Ganti, Tejaswini. Bollywood: a guidebook to popular Hindi cinema. New York: Routledge, 2004. Print.
Rajadhyaksha, Ashish, and Paul Willemen. Encyclopaedia of Indian cinema. London: British Film Institute; 1994. Print.