{"id":4071,"date":"2016-06-08T19:58:00","date_gmt":"2016-06-08T14:28:00","guid":{"rendered":"http:\/\/13.201.39.237\/?p=4071"},"modified":"2026-07-17T20:53:43","modified_gmt":"2026-07-17T15:23:43","slug":"manikarnika-kangana-ranaut-queens","status":"publish","type":"post","link":"http:\/\/13.207.105.184\/?p=4071","title":{"rendered":"Will Manikarnika Change Bollywood\u2019s History of Dull-as-Dishwater Queens?"},"content":{"rendered":"\n

B<\/span>ollywood\u2019s penchant for period and costume dramas has conjured up countless queens and princesses, stretching back to its very first film, <\/p>Raja Harishchandra, <\/span><\/i>in 1913 \u2013 a time in film history when men played <\/span>women<\/span><\/a>. Here, Harishchandra\u2019s wife, Queen Taramati, suffers hardships and is wrongly accused of a crime. Its cinematic distinction aside, the film\u2019s leading lady would become the template for representing royalty: From <\/span>Rani Rupmati<\/span><\/i> (1957) to Padmavati, each queen who came after Taramati is just as pious and uncomplaining.<\/span>\n\nA plethora of historical and mythological dramas in the \u201930s and \u201940s enabled this archetype, dolling up royal <\/span>heroines<\/span><\/a> in fine regalia, and making them wax lyrical about \u201chonour\u201d and \u201cduty\u201d. So when SS Rajamouli\u2019s South Indian fantasy epic <\/span>Baahubali 2: The Conclusion <\/span><\/i>(2017) hit theatres decades later, Bollywood went into a bit of a tizzy over the fierce feminism of Princess Devasena and Queen Sivagami. Indian cinema had finally found two truly empowered mainstream royal heroines who didn\u2019t merely exist for the men. <\/span>\n\nDevasena isn\u2019t just another action hero with exceptional combat skills, she\u2019s also compassionate, self-aware, and in control. And as regent, Sivagami is a strategic thinker who governs the kingdom of Mahishmati with unflinching fairness. Amidst the <\/span>testosterone<\/span><\/a>, blood, brawn, and bull fights, these steely women shine the brightest.<\/span>\n\n\"aishwariya_rai_jodha_akbar\"\n

\n\n

UTV Motion Pictures<\/p>\n\n<\/figcaption>\n\n<\/figure>\n\nThe overwhelming response to <\/span>Baahubali 2<\/span><\/i>, even from Hindi-speaking audiences, is not surprising. For the greater part of Bollywood history, a queen\u2019s job was reduced to being in labour so that a diligent daasi can inform an anxious king, \u201cBadhaai ho Maharaj, yuvraaj paida hue hain.\u201d<\/span>\n\nIn classics like Manmohan Desai\u2019s <\/span>Dharam Veer<\/span><\/i> (1977) and Rajkumar Kohli\u2019s <\/span>Gora Aur Kala<\/span><\/i> (1972) and <\/span>Raaj Tilak<\/span><\/i> (1984), the queen is invariably a hapless maharani<\/span> at the mercy of devious courtiers. Or, for a twist on the <\/span>stereotype<\/span><\/a>, she\u2019s the devious one, like the stepmother in <\/span>Rajkumar<\/span><\/i> (1964) who coveted the crown for her son, or the sadistic princess of <\/span>Suryavanshi <\/span><\/i>(1992) who enjoys throwing her suitors to man-eaters.<\/span>\n

The weapon-wielding woman trope is often thrust into the plot, a feeble token to prove that the heroine isn\u2019t just a pretty face.<\/blockquote>\nNaturally, these villainous queens are not spared from serving as a <\/span>romantic<\/span><\/a> trope in male-driven stories, where the hardened hero brings the bratty heroine into submission. Be it <\/span>Aan <\/span><\/i>(1952), <\/span>Dharam Veer<\/span><\/i> or <\/span>Azaad<\/span><\/i> (1978), every petulant princess worth her riyaasat has been humbled by the hero in the most masochistic manner. Somehow, she always falls for the hero after being abducted, bossed around, and manhandled by him. Because a woman\u2019s idea of getting wooed is exactly that. <\/span>\n\nEven contemporary Bollywood that should know better has done precious little to break these <\/span>clich\u00e9s<\/span><\/a>. The weapon-wielding woman trope is often thrust into the plot, a feeble token to prove that the heroine isn\u2019t just a pretty face. <\/span>\n\nWould it be more effective to just write strong <\/span>women characters<\/span><\/a>? Well, yes, but tell that to last year\u2019s <\/span>Thugs of Hindostan <\/span><\/i>(2018), where Princess Zafira (Fatima Sana Sheikh) is a swashbuckling warrior who, for some reason, keeps getting rescued by the men. Or to Rani Padmavati in the epic <\/span>Padmaavat <\/span><\/i>(2018), who, despite being the badass princess of Sinhala, becomes a sacrificial pawn in a game between kings. \u00a0Clearly, little has changed in the decade since <\/span>Jodhaa Akbar<\/span><\/i> gave us an empress who is a skilled swordfighter and Akbar\u2019s equal in both wit and resolve, but whose biggest battle remains gaining a footing in the royal kitchen.<\/span>\n\n\"deepikda_padukone_padmavat\"\n
\n\n

Viacom 18 Motion Pictures<\/p>\n\n<\/figcaption>\n\n<\/figure>\n\nAnd yet, as <\/span>Baahubali<\/span><\/i> proves, just a step outside masala Bollywood, authentic queens are not so hard to come by. Shyam Benegal\u2019s <\/span>Zubeidaa <\/span><\/i>(2001), for instance, offers up a rare leading lady: a free-spirited, <\/span>Muslim<\/span><\/a> divorcee and former actress who falls for a married Hindu Maharaja and becomes his chhoti rani, but is unable to mould herself to the confining life of royalty. Unlike Bollywood\u2019s other virtuous, self-sacrificing queens, Zubeidaa is passionate, agonising, and even embarrassing. In other words, a person. <\/span>\n\nZubeidaa<\/span><\/i> harkens back to a better time for the industry, when Gulzar\u2019s <\/span>Meera <\/span><\/i>(1979) brought to the screen a Hindu poet-princess who defied every convention of Rajput royal society. Meera sings and dances in public, keeps the company of other ascetics, seeks knowledge from a man of \u201clower\u201d caste, and rejects the worldly notions of <\/span>womanhood<\/span><\/a>. She was followed by Kamal Amrohi\u2019s <\/span>Razia Sultan<\/span><\/i> (1983), who had a surreptitious homo-erotic relationship with her lady-in-waiting<\/span>, <\/span><\/i>Khakun (Parveen Babi).<\/span>\n\nNow that Kangana Ranaut\u2019s <\/span>Manikarnika: Queen of Jhansi<\/span><\/i> is on the horizon, can we hope to see more than a royal caricature? Or will it be another vociferous, hyper-nationalistic, <\/span>election-year<\/span><\/a> movie that forces us to wait patiently for <\/span>Baahubali 3<\/span><\/i>? If only Bollywood\u2019s filmi queens were as thought-provoking, subversive, and even discomfiting, as Devasena and Sivagami \u2013 who have much more to them than their glistening tiaras, politics of convenience, and speeches on aan baan shaan.<\/span>\n","protected":false},"excerpt":{"rendered":"

From Raja Harishchandra to Padmaavat, Bollywood has a history of depicting its queens as either pious and uncomplaining, or rude and proud, waiting for the hero to tame their ego. Now that Kangana Ranaut\u2019s Manikarnika: Queen of Jhansi is due to release, can we hope to see more than a royal caricature?<\/p>\n","protected":false},"author":291,"featured_media":4075,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3114],"tags":[7452,7453,1281,7454,1284,4131,3979,7455,7456,4421,7457],"class_list":["post-4071","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bollywood","tag-aishwariya-rai","tag-baahubali","tag-deepika-padukone","tag-jodha-akbar","tag-kangana-ranaut","tag-manikarnika","tag-padmaavat","tag-royal-family","tag-shyam-benegal","tag-womanhood","tag-zubeidaa"],"yoast_head":"\nWill Manikarnika Change Bollywood\u2019s History of Dull-as-Dishwater Queens?<\/title>\n<meta name=\"description\" content=\"From Raja Harishchandra to Padmaavat, Bollywood has a history of depicting its queens as either pious and uncomplaining, or rude and proud, waiting for the hero to tame their ego. Now that Kangana Ranaut\u2019s Manikarnika: Queen of Jhansi is due to release, can we hope to see more than a royal caricature?\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/13.201.39.237\/?p=4071\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Will Manikarnika Change Bollywood\u2019s History of Dull-as-Dishwater Queens?\" \/>\n<meta property=\"og:description\" content=\"From Raja Harishchandra to Padmaavat, Bollywood has a history of depicting its queens as either pious and uncomplaining, or rude and proud, waiting for the hero to tame their ego. 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