{"id":2798,"date":"2020-01-26T10:02:54","date_gmt":"2020-01-26T15:32:54","guid":{"rendered":"https:\/\/filmcriticscircle.com\/journal\/?p=2798"},"modified":"2020-03-29T20:42:12","modified_gmt":"2020-03-29T15:12:12","slug":"the-emergence-and-popularity-of-the-grey-protagonist-in-bollywood","status":"publish","type":"post","link":"https:\/\/filmcriticscircle.com\/journal\/features\/the-emergence-and-popularity-of-the-grey-protagonist-in-bollywood\/","title":{"rendered":"The emergence and popularity of the grey protagonist in Bollywood"},"content":{"rendered":"

E<\/span>arly Bollywood movies were famous for their idealistic, flawless central characters. Audiences loved them. Classic examples are the simpleton Raju in Raj Kapoor\u2019s Jis Desh Me Ganga Behti Hai<\/em>, the upright Satyapriya Acharya in Hrishikesh Mukherjee\u2019s Satyakam<\/em>, the righteous Bharat in Manoj Kumar\u2019s Upkar<\/em>, and the patient jail warden Adinath in V Shantaram\u2019s Do Aankhen Barah Haath<\/em>.<\/p>\n

\"\"

V Shantaram<\/p><\/div>\n

The idealist protagonists, back in those days, always stuck to their principles, and the films appeared honest and real. In Ramesh Sippy\u2019s Shakti<\/em>, we see the dutybound Dilip Kumar refusing to allow the love for his flawed son Vijay to come in the way of discharging his responsibilities. And in Do Aankhen Barah Haath,<\/em> the jailer doesn\u2019t compromise on his virtues and is committed to reform the prisoners, even if it means making sacrifices. Even the pioneer film that ushered in the new age of Bollywood, Rakeysh Omprakash Mehra\u2019s Rang De Basanti,<\/i> exhibits ordinary, listless college students fighting for justice and being inspired by revered freedom fighters, but not before investing a lot of screen time in highlighting their vulnerability and insignificant college banter meant to connect to the audience. <\/span><\/p>\n

Filmmakers of yore also frequently used a two-character format to balance traits and appeal to all sections of society \u2060\u2014 one who favoured idealism, and the other, realism. So, we have Vijay and Ravi in Yash Chopra\u2019s Deewar<\/em>, Ram and Lakhan in Subhash Ghai\u2019s Ram Lakhan<\/em>, and Ramu and Birju in Mehboob Khan\u2019s Mother India<\/em>, and in a different theme, Sunil and Rahul in Yash Chopra\u2019s Darr<\/em>. And in Deewar<\/em>, the flawed Vijay gets to express his pain and his angst while the idealistic Ravi has no such luxury.<\/p>\n

Popular culture however often tweaks itself for acceptance by a changing audience. Thus, over the years, quite a few Bollywood films have rejected the \u2018all-good\u2019 protagonist in favour of a \u2018grey\u2019 and \u2018getting greyer\u2019 protagonist, while retaining the larger construct of the \u2018good vs evil\u2019 theme.<\/p>\n

\"\"

Two of the grey protagonists<\/p><\/div>\n

Karan Malhotra\u2019s remake of Agneepath<\/em> saw not one but two well-fleshed-out antagonists in the form of Rishi Kapoor and Sanjay Dutt. Similarly, Sanjay Leela Bhansali\u2019s Padmaavat<\/em> saw Ranveer Singh soar in popularity despite playing a villain. Shahid Kapoor as the flawed titular character in Sandeep Vanga\u2019s Kabir Singh<\/em> was greeted with repulsion by some spectators and cat-whistles by the majority. Rajkumar Hirani\u2019s Lage Raho Munnabhai<\/em> too was probably loved more for the flawed protagonist, a lovable goon.<\/p>\n

It is improbable that writers fail to realize that idealistic characters go through their many dilemmas too, and that being virtuous does cause angst too. It is more likely that these days, writers begin their story on the presumption that it is the grey protagonist who steals the show. Perhaps the reason why writers pay more attention to the grey character is that they feel that a multiple-shade personality is less predictable, more entertaining, and connects better with audiences.<\/p>\n

While probing the reason for cynicism of audiences would be a subject of psychology and sociology, filmmakers\u2019 deliberate choice to flesh out the grey character in greater detail and lend them more screen-time; powerful, distinct dialogues; and multiple layers begs the important question \u2014 is this a case of absence of conviction, a sign of the time we inhabit, or compromised filmmaking?<\/p>\n

 <\/p>\n[divider size=”1″ margin=”0″]\n

 <\/p>\n

The artworks above are by the author himself. He has done well over 350 portraits of film stars from the early to the present eras.<\/p>\n

\"\"<\/p>\n","protected":false},"excerpt":{"rendered":"

Early Bollywood movies were famous for their idealistic, flawless central characters. Audiences loved them. Classic examples are the simpleton Raju in Raj Kapoor\u2019s Jis Desh Me Ganga Behti Hai, the upright Satyapriya Acharya in Hrishikesh Mukherjee\u2019s Satyakam, the righteous Bharat in Manoj Kumar\u2019s Upkar, and the patient jail warden Adinath in V Shantaram\u2019s Do Aankhen […]<\/p>\n","protected":false},"author":59,"featured_media":2803,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[29],"tags":[],"class_list":["post-2798","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features"],"yoast_head":"\nThe emergence and popularity of the grey protagonist in Bollywood<\/title>\n<meta name=\"description\" content=\"Is the deliberate choice of filmmakers to favour grey protagonists a case of absence of conviction, a sign of the time we inhabit or compromised filmmaking?\" \/>\n<meta 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