{"id":5342,"date":"2016-04-04T03:47:38","date_gmt":"2016-04-03T22:17:38","guid":{"rendered":"http:\/\/13.201.39.237\/?p=5342"},"modified":"2026-07-17T21:35:43","modified_gmt":"2026-07-17T16:05:43","slug":"homophobic-bollywood-section-377-india-sonam-kapoor-dostana","status":"publish","type":"post","link":"http:\/\/13.207.105.184\/?p=5342","title":{"rendered":"Has the Famously Homophobic Bollywood Really Changed in Post Sec-377 India?"},"content":{"rendered":"\n

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

\nollywood has the queerest relationship with the LGBTQIA+ community. In February, when actors Sonam Kapoor and Anil Kapoor were doling out press interviews for Shelly Chopra Dhar\u2019s <\/span>Ek Ladki Ko Dekha Toh Aisa Laga<\/span><\/i><\/a>, primed to be the first mainstream Hindi film with a lesbian lead, they refused to address queries about the same-sex love depicted in the movie.\u00a0Their good intentions stank of doublespeak, given that it was a chance for the filmmakers to be the torchbearer of a post 377-world.\u00a0<\/span>\u00a0<\/span>\n\nInstead, throughout the film\u2019s promotional lifespan, its actors chose to deflect from acknowledging its <\/span>lesbian<\/span><\/a> leanings, presumably for the fear of alienating the heterosexual audience at large. To me, it felt like a poorly thought-out publicity campaign that neither transformed the movie into a blockbuster nor managed to be a vehicle that vocalised the prevalence of a thriving and surviving LGBTQIA+ community in the country. In fact, it reminded me of Prem Kapoor\u2019s <\/span>Badnaam Basti<\/span><\/i>, that featured a love triangle between two men and a woman, which the filmmakers were forced to tiptoe around for fear of censure. The only difference was that the year was 1971.<\/span>\n\n\"ek_ladki_ko_dekha_toh\"\n

\n

Yet it\u2019d still be remiss to not champion Ek Ladki Ko Dekha Toh Aisa Laga as a film that attempted to stay from convention by having a lesbian love story at the heart of its proceedings.<\/p>\n

Vinod Chopra Films<\/p>\n<\/figcaption>\n<\/figure>\n\nYet it\u2019d still be remiss to not champion <\/span>Ek Ladki Ko Dekha Toh Aisa Laga<\/span><\/i> as a film that attempted to stay from convention by having a lesbian love story at the heart of its proceedings. It\u2019s a stark contrast from Karan Razdan\u2019s <\/span>Girlfriend<\/span><\/i> (2004), a queerbashing film where Isha Koppikar played Tanya, a headstrong butch who is obsessed with her friend Sapna (Amrita Arora) and takes to <\/span>stalking<\/span><\/a> her like the average Indian incel bloke. Eventually, when Sapna doesn\u2019t reciprocate her feelings, Tanya goes on a violent bloodthirsty spree. The movie essentially demonised the lesbian with the characteristic ticks of a psychotic person \u2013 it was loud, bizarre, and worst of all, encouraged <\/span>homophobia<\/span><\/a>.\u00a0<\/span>\n\nIn <\/span>Girlfriend<\/span><\/i>, Tanya\u2019s depiction as a short-haired lesbian who rides a bike is itself representative of the erronous shorthand that Hindi cinema often employs to identify the <\/span>queer<\/span><\/a>. In fact, mainstream Bollywood\u2019s reading of gay people has always been limited to seeing them as effeminate people who are perpetually horny. Looking for love, inclusion, and acceptance is rarely allowed to be their primary concern. The rare exceptions (<\/span>Bombay Boys, My Brother Nikhil, Loev<\/span><\/i>) that try to break this stereotype are usually low-budget films made by independent filmmakers that find a limited audience, unable to transmute their cachet to effect awareness in the industry.\u00a0<\/span>\n\n

In fact, mainstream Bollywood\u2019s reading of gay people has always been limited to seeing them as effeminate people who are perpetually horny. <\/p><\/blockquote> \n\nThe mainstream films on the other hand, generously employ stereotypes while representing the queer, shaping a misunderstood perception of them. In fact, Bollywood\u2019s blighted sense of humour that doesn\u2019t leave an opportunity to milk homosexuality for punchlines is best evidenced in two of the biggest hits of the noughties. Both <\/span>Dostana<\/span><\/i><\/a> and <\/span>Kal Ho Na Ho<\/span><\/i> take to exploiting homosexuality. In the former, <\/span>Kantaben<\/span><\/a>\u2019s (Sulbha Arya) shivering food tray at the sight of two men in an embrace can be read as a reinforcement of the general Indian disapproval toward the queer. <\/span>Dostana<\/span><\/i>, a film where two men pretend to be gay to become roommates with a girl, goes a step further. In it, Rani Kapoor (Kirron Kher) embodies a superstitious Indian mother who assumes that <\/span>homosexuality<\/span><\/a> isn\u2019t an orientation, but just an evil phase that can be warded off with prayers.<\/span>\n\nIn that sense, Shakun Batra\u2019s\u00a0<\/span>Kapoor & Sons<\/span><\/i> marked a beginning of sorts, embodying the possibility of a mainstream film to retain its commercial sensibilities \u2013 elaborate song and dance routines, a love triangle, and a gentle, but difficult sibling relationship \u2013 while being tender to its queer sub-plot. This film, along with Hansal Mehta\u2019s <\/span>Aligarh<\/span><\/i>, that was based on the real-life story of a <\/span>professor<\/span><\/a> struggling for inclusivity, played an integral role in demanding for a revision of the <\/span>type.\u00a0<\/span><\/i>Suddenly, gone was the caricature and in was the normalisation of the queer voice. The very existence of <\/span>Ek Ladki Ko Dekha Toh Aisa Laga <\/span><\/i>is in fact cut from the same cloth.<\/span>\n\n\"dostana\"\n

\n

In Dostana, Rani Kapoor (Kirron Kher) embodies a superstitious Indian mother who assumes that homosexuality isn\u2019t an orientation, but just an evil phase that can be warded off with prayers.<\/p>\n

Dharma Productions<\/p>\n<\/figcaption>\n<\/figure>\n\nIt\u2019s been a year since the landmark Supreme Court judgement that decriminalised homosexuality. In this <\/span>post-Section 377 world<\/span><\/a>, Bollywood has evidently taken major leaps: Film producers, screenwriters, and actors have begun to actively invest in, and advocate queer characters. There is a lesser chance of the queer community being straitjacketed into\u00a0black-and-white stereotypes, given that pandering is being replaced with pushing the boundaries. In the last year, the industry has envisioned a web series \u2013 <\/span>Made in Heaven<\/span><\/i><\/a> \u2013 starring an openly gay protagonist, whose concerns spill beyond his love life as well as one, that afforded a room to a transgender character.<\/span>\n\nMuch of it also stems from the fact that straight men aren\u2019t the only ones who are calling the shots any longer, opening up space for not just diversity, but also for the <\/span>queer comnunity<\/span><\/a> to bring their lived-in perspective to the table. In most production houses, it has now become mandatory to consult a queer person if the script involves queer lives. Take me for instance. I was recently brought in as a consultant for a\u00a0 film script when the production team felt that the straight men writing a story about queer lives lacked insight. Producers have shown interest in adapting my book for a web series. Film directors are engaging with me to develop scripts involving the queer community. There\u2019s no better evidence than this year\u2019s slate of movies, which include <\/span>Shubh Mangal Zyada Saavdhan 2<\/span><\/i> and<\/span> Dostana 2<\/span><\/i>, whose plots centre around homosexuality. The token gay character is finally being given a plot.<\/span>\n","protected":false},"excerpt":{"rendered":"

In a post-Section 377 world, Bollywood has evidently taken major leaps. I was recently brought in as a consultant for a film script when the production team felt that the straight men writing a story about queer lives lacked insight.<\/p>\n","protected":false},"author":215,"featured_media":5346,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3114],"tags":[140,9105,141,9106,1099,7488,3967,9107,7046,9108,223,8604,9109,7750,9110,9111,227,821,9112,9113,283,1467],"class_list":["post-5342","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bollywood","tag-anil-kapoor","tag-badnaam-basti","tag-bollywood","tag-bombay-boys","tag-dostana","tag-ek-ladki-ko-dekha-toh-aisa-laga","tag-girlfriend","tag-homophobic","tag-kal-ho-na-ho","tag-karan-razdan","tag-lesbian","tag-lgbtqia","tag-loev","tag-made-in-heaven","tag-my-brother-nikhil","tag-prem-kapoor","tag-queer","tag-section-377","tag-shelly-chopra-dhar","tag-shubh-mangal-zyada-saavdhan-2","tag-sonam-kapoor","tag-stalking"],"yoast_head":"\nHas the Famously Homophobic Bollywood Really Changed in Post Sec-377 India?<\/title>\n<meta name=\"description\" content=\"In a post-Section 377 world, Bollywood has evidently taken major leaps. 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