{"id":4136,"date":"2016-04-03T13:19:03","date_gmt":"2016-04-03T07:49:03","guid":{"rendered":"http:\/\/13.201.39.237\/?p=4136"},"modified":"2016-04-03T13:19:03","modified_gmt":"2016-04-03T07:49:03","slug":"from-fire-to-ek-ladki-ko-dekha-toh-aisa-laga-a-brief-history-of-homosexuality-in-indian-cinema","status":"publish","type":"post","link":"http:\/\/13.207.105.184\/?p=4136","title":{"rendered":"From Fire to Ek Ladki Ko Dekha Toh Aisa Laga: A Brief History of Homosexuality in Indian Cinema"},"content":{"rendered":"\n

B<\/span><\/p><\/div>

ollywood\u2019s definition of homosexuality for most of its lifetime has been simple but problematic. An effeminate man with a dangling hand + comedy background music = gay. But in the last 10 years or so, our mainstream movies seem to have learnt a lesson or two in sensitivity. \u00a0<\/span>\n\nThe industry has come a long way since 2007\u2019s <\/span>Honeymoon Travels Pvt. Ltd., <\/span><\/i>where two married men silently yearn for each other and 2008\u2019s highly problematic <\/span>Dostana<\/span><\/i>, where its two leads pretend to be gay to rent an apartment with a girl they both like. Almost a decade later, we saw <\/span>Kapoor and Sons<\/span><\/i><\/a> (2016), which breaks away from all the stereotypes of homosexuality. Fawad Khan plays a gay author with a secret boyfriend abroad \u2013 his sexuality is only incidental to his personality. It does not define him or make him any different from everybody else. Since then we\u2019ve seen Karan Johar\u2019s short in <\/span>Bombay Talkies<\/span><\/i>, Netflix\u2019s <\/span>Loev<\/span><\/i>, and Hansal Mehta\u2019s <\/span>Aligarh<\/span><\/i>.<\/span>\n\nAnd yet, even compared to these few examples of gay characters in Bollywood, lesbians have never managed to pervade the mainstream consciousness in family-friendly flicks. There\u2019s the ultra-trashy <\/span>Girlfriend <\/span><\/i>(2004), about an obsessive lesbian stalker, that plays straight into salacious stereotypes. Thoughtful films like<\/span> Margarita with a Straw<\/span><\/i> (2014), where Kalki Koechlin stars as a girl with cerebral palsy who is finding her sexuality, or <\/span>Dedh Ishqiya<\/span><\/i> (2014), a crime thriller which features a romance between two conwomen, sit on the fringes, hammering diligently at homophobia and <\/span>patriarchy<\/span><\/a>, and go unnoticed by most moviegoers. \u00a0<\/span>\n\nUntil now, the only film with a lesbian relationship that has captured the public imagination is 1996\u2019s <\/span>Fire<\/span><\/i> \u2014 and not necessarily for the right reasons. A loose adaptation of Ismat Chughtai\u2019s <\/span>Lihaaf <\/span><\/i>(1942), <\/span>Fire<\/span><\/i> focuses on the budding relationship between two sisters-in-law, Radha (Shabana Azmi) and Sita (Nandita Das), stuck in an unhappy joint family: Sita\u2019s new husband cruelly ignores her and cheats on her, while Radha\u2019s has turned <\/span>brahmachari<\/span><\/a>, forcing her to act as sexual bait to test his own willpower. <\/span>\n\nBoth women are trapped in loveless marriages, expected to cater to their husband\u2019s desires without having any of their own. <\/span>Fire<\/span><\/i> explores the sheer infeasibility of such an existence, and is less about same-sex love than the societal burdens that drive Sita and Radha together in the first place. The film ends with them leaving their old life behind, without knowing where they will turn next.<\/span>\n\nIt\u2019s a fitting metaphor for the country\u2019s attitude towards the LGBTQIA+ community \u2013 a large part of which still considers homosexuality taboo. Only in September last year, did the Supreme Court strike down the <\/span>archaic<\/span><\/a> Section 377 of the IPC that described homosexuality as \u201ccarnal intercourse against the order of nature\u201d. \u00a0<\/span>\n\n

It\u2019s a fitting metaphor for the country\u2019s attitude towards the LGBTQIA+ community \u2013 a large part of which still considers homosexuality taboo.<\/p><\/blockquote>\n\nSection 377\u2019s vagueness allowed authorities to target the queer community, demonising sodomy and \u201cunnatural\u201d penetration. As for where women fit into this this narrow understanding of sex? Legally, the concept of female sexuality is all but passed over \u2014 not just in Sec 377. According to the IPC, rape, like adultery, can only be committed by men against women, and it must involve penetration. <\/span>\n\nOf course, these outdated laws ignore the existence of the lesbian community entirely. But they also speak to a culture where women\u2019s desires are totally irrelevant. <\/span>\n\nWhich is why the first <\/span>lesbian love story<\/span><\/a> of the post-377 era is cause for celebration. <\/span>Ek Ladki Ko Dekha Toh Aisa Laga<\/span><\/i> is a sensitive rendering of a lesbian girl, Sweety (Sonam Kapoor Ahuja), whose truth is in conflict with her <\/span>small-town<\/span><\/a> Punjabi milieu. Once a boisterous child, she\u2019s becomes used to not speaking her mind, and believes she has to get married for the sake of her family. As Sweety swallows her sense of self to please her father, <\/span>Ek Ladki Ko Dekha Toh Aisa Laga<\/span><\/i> drives homes the fundamental injustice that the LGBTQIA+ community, and its women, face with an aching familiarity.<\/span>\n\nAt the same time, <\/span>Ek Ladki Ko Dekha Toh Aisa Laga<\/span><\/i> is the charming, popcorn-worthy Bollywood movie that the genre has been sorely missing. Sure, <\/span>the film<\/span><\/a> remains studiously chaste, skipping over any suggestion of sexuality. But that allows it to act as a primer for young girls, gay or straight, whose existence is a struggle against stigma. When the soft-spoken Sweety finds her voice, she makes it clear that she will no longer sacrifice herself.<\/span>\n\nMost heartening, however, is the audience\u2019s warm welcome. In 1996, <\/span>Fire<\/span><\/i> was met with <\/span>riots<\/span><\/a> and outrage. Politicians leapt over themselves to denounce the film as a threat to Indian culture, and while many moviegoers defended the release in the name of free speech as much as LGBTQIA+ rights, plenty more objected to the film\u2019s religious allusions and negative portrayal of the joint family. Today, <\/span>Ek Ladki Ko Dekha Toh Aisa Laga <\/span><\/i>has received the kind of acclaim and acceptance that, not so long ago, seemed impossible. <\/span>\n\nThe overturning of Sec 377 is a big step in our fight against <\/span>prejudices<\/span><\/a>, and there is a long way to go before we truly see equal rights enshrined into law. But <\/span>Ek Ladki Ko Dekha Toh Aisa Laga <\/span><\/i>has shown that behind the clamour of human rights battles and interminable legal wars, ordinary people have been quietly opening their minds to women like Sweety. In a post-377 India, that\u2019s the greatest victory.<\/span>\n","protected":false},"excerpt":{"rendered":"

In 1996, Deepa Mehta\u2019s Fire was met with riots and outrage. Politicians leapt over themselves to denounce the film as a threat to Indian culture, plenty more objected to the film\u2019s religious allusions. Today, Ek Ladki Ko Dekha Toh Aisa Laga has received the kind of acclaim and acceptance that, not so long ago, seemed impossible.<\/p>\n","protected":false},"author":208,"featured_media":4137,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3114],"tags":[7488,3520,7506,7507,7508,223,419,7509,224,7510,227,3449,821,951],"class_list":["post-4136","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bollywood","tag-ek-ladki-ko-dekha-toh-aisa-laga","tag-fire","tag-gay-rights","tag-ismat-chughtai","tag-kapoor-and-songs","tag-lesbian","tag-lgbt","tag-lihaag","tag-love","tag-margarita-with-a-straw","tag-queer","tag-romcom","tag-section-377","tag-supreme-court"],"yoast_head":"\nFrom Fire to Ek Ladki Ko Dekha Toh Aisa Laga: A Brief History of Homosexuality in Indian Cinema<\/title>\n<meta name=\"description\" content=\"In 1996, Deepa Mehta\u2019s Fire was met with riots and outrage. 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