By Mumtaz Mohiuddin 

Abstract 

The Hindi Film Industry in its cinematic representation of the Muslim community often plants the seeds of distrust and division that often paint Muslims as “the other”. This essay particularly embarks on a journey to peel the layers of Muslim Women characters and confront these problematic portrayals that not only shape perceptions but also reinforce rigid stereotypes, limiting the breadth of human experiences. Through a feminist lens, we dare to envision a cinematic landscape where Muslim women transcend the confines of stereotypes and their stories are painted with strokes of authenticity and empathy. This is a call to arms for Bollywood—to embrace the power of storytelling as a force for unity, understanding, and inclusivity. 

Bollywood’s infatuation with portraying Muslims and their culture unfolds as an enduring, almost enchanting fixation. The prevalence of this trend within Hindi cinema is too pronounced to be brushed off as mere happenstance. In its cinematic landscape, we frequently encounter Muslim men bedecked in Sherwanis and Kurta Pajamas, their eyes smudged with dark kohl, while women gracefully adorn traditional Islamic garb, from Shalwar Kameez and Anarkalis to the convenience of Hijabs and complete Burqas. This visual choreography is more than just aesthetics; it’s the storyteller’s canvas. Without these captivating depictions, how would we recognize the presence of Muslim characters on the silver screen? It’s a tapestry of identity, culture, and cinematic allure that enriches our movie-going experience.

Beyond their clothing, Muslims in cinema often face unfavorable portrayals that reinforce their ‘Muslim’ identity and perpetuate existing stereotypes.  Take, for instance, films like Sarfarosh, Fanaa and Anwar,  where themes of nationalism, religious identity, and Islamic extremism take center stage through a ‘Musalman’ character’ who is depicted as mischievous, untrustworthy, and anti-national, often shouldering blame for all the wrongs  (Khatun, 2016).  In this narrative landscape, the quintessential villain archetype finds a comfortable home in the persona of a Muslim man only, making him the most convenient antagonist. His identity, loyalty to the nation, and even his love for the country are frequently subjected to intense scrutiny and suspicion, bringing richness to the plot.

But why this misrepresentation and fictionalization? It is so because the Hindi film industry doesn’t operate in isolation; it gets deeply shaped and influenced by the prevailing political climate in the nation. What we witness is that amidst the recent surge in the commodification of nationalism, evident in both advertisements and films, ‘Bollywood’ willingly embraces an active role rather than remaining a passive observer and offers its service through ‘cine patriotism’. This dynamic shift reflects the industry’s profound impact in shaping and mirroring the pulse of society, making it an integral part of the national narrative.

It may not be true for all, because there are films that have shown Muslim characters in a positive and authentic light disseminating stereotypes. For example in Chak De India, the Muslim hero Kabir Khan portrayed by Shahrukh Khan, initially labeled a traitor, transforms into a symbol of devotion, duty, and integrity as he coaches the women’s hockey team, earning respect and recognition from his fellow countrymen. Imran in Zindagi Na Milegi Dobara doesn’t feel alien to us in the entire film. His character seamlessly blends into the narrative. His sharp attire, engaging sense of humor, and charming mannerisms make him an effortlessly appealing and relatable character. In Gully Boy, it’s not Murad’s religious identity that takes center stage; instead, the heart of the film revolves around his socio-economic background and the world he navigates. Nevertheless, the broader cinematic landscape often leans towards depicting Muslims in a negative light, outnumbering the instances of positive representation.

A noteworthy aspect of this cinematic portrayal lies in the depiction of ‘Muslim women’ in Bollywood. In the real world, Muslim women have created history like never before. They have emerged from Burqas and hit the streets in the middle of cold December fighting not just for citizenship laws, but much more, mostly to teach a lesson i.e.; do not take these women for granted. They are not just oppressed beings in Burqas– there is much more to them. However, Bollywood seems to have constructed and perpetuated a permanent image of ‘Muslim women’, characterized by a landscape fraught with pervasive stereotypes, well-worn clichés and a decidedly conservative underpinning. This entire process of ‘otherization’ is complete by combining selective frames and potent symbols like dressing, dialogue, dialect, appearance, body language, religious practice and patriotism. 

These elements, including attire, dietary habits, dialect and social behavior, are strategically used to accentuate their ‘otherness,’ perpetuating the ‘clash of civilizations’ argument. It is often symbolized by the contrast between the ‘Sari-clad Ideal Hindu women’ and the ‘Burqa-clad Muslim women.’ A clear example of this can be seen in Bajirao Mastani (2015), where Mastani, a Muslim woman, starkly differs in attire from Kashibai and competes for her husband’s affections. This complex portrayal in Bollywood highlights the multifaceted roles and the often misunderstood dynamics surrounding Muslim women in these narratives.

In Muslim historical films like Mughal-E-Azam, Umrao Jaan and Pakeeza, the portrayal of Muslim women often revolves around the role of courtesans catering to the desires of upper-class men. When we shift our focus to Muslim social films, it becomes evident that the representation of Muslim women has seen little advancement. Unfortunately, these depictions are frequently marked by an inclination towards oversimplification and stereotyping. These cinematic narratives often cast them as damsels in distress, ensnared in the shackles of societal norms, or as romantic figures adorned with a shroud of intrigue, akin to “forbidden fruit” in the landscape of love stories. These one-dimensional characterizations have restricted the vast potential and diversity within Muslim women. 

We can identify a number of Bollywood movies with this passive, discursive tone. In Films such as  Gadar Ek Prem Katha (2001), Veer-Zaara (2004),  Mission Kashmir (2000), Secret Superstar (2017), Muslim women in cinema often appear as silent, subservient figures, sacrificing their agency and individuality. Their political identities and social awareness remain unexplored. In contrast to assertive “Muslim-Angry Men,” Bollywood frequently leans towards depicting Muslim women in a more passive light, resulting in narratives where their identity and agency remain conspicuously absent or underdeveloped. 

For example, Zaara, a vibrant and spirited character in Veer-Zaara, begins the story with an infectious zest for life. However, as the narrative unfolds, she undergoes a profound transformation, finding herself trapped in a world of solitude where she struggles to assert her love. Her existence becomes a story of selfless sacrifices, leaving her with a profound sense of powerlessness and a lack of agency.

Similarly, in Secret Superstar, the family’s Muslim identity takes a prominent role in the story. But it makes you wonder, does the self-sacrificing and suffering mother really have to be a Muslim woman, or could she be from any religion? Her veil becomes a constant reminder of oppression and lack of choice. Likewise, the abusive father who tortures both his wife and daughter seems to be independent of religious constraints, as his actions could be applicable to characters of any religious background.

Although there are some contemporary films that represent Muslim Women characters without any preconceived baggage, symbols or identification and are represented in nuanced ways, somehow in the end, they are made to prove their love and loyalty to the nation, leading to inadequate and impartial treatment (Hirji, 2008). An excellent example can be found in the film Fanaa (2006) where Zooni (Played by Kajol) provides a compelling example. Zooni forfeits and sacrifices her worldly love Rihaan, who is a Kashmiri separatist, for a far superior love of the nation and proves herself as a ‘good Muslim’, because she has no other choice. 

Similarly, in the film Fiza, the heroine is consistently compelled to demonstrate her love and loyalty to her nation. Her character is reminiscent of Zooni, who, in a desperate bid to safeguard her homeland, is even willing to confront the heartbreaking dilemma of taking the life of her own brother. 

In the film Raazi (2018), the character Sehmat, played by Alia Bhatt, offers another example. Sehmat is a young Muslim who marries into a Pakistani military family and works as an undercover Indian spy during the 1971 India-Pakistan war. Initially, her love for India drives her to undergo rigorous training and personal sacrifices. As the story unfolds, she grapples with moral dilemmas and emotional turmoil, torn between her mission and her love for her Pakistani husband and in-laws. Ultimately, she makes a profound sacrifice. Patriotism and nationalism are further fueled by its soundtrack, creating a dramatic effect in the entire film. These instances in cinema shed light on the prevalent theme of alienation experienced by Muslim characters in their cinematic portrayals, highlighting their need to not to be taken for granted roles in Indian cinema. 

There is no doubt that there are films that stand out for their careful and sensitive portrayal of Muslim women. These films have gone beyond clichés and showcased the diversity of experiences within the Muslim community. Movies like Lipstick Under My Burkha, (2016) Naam Shabana, (2017) Ae Dil Hai Mushkil, (2016) and Raees (2017), introduced to the audience some Muslim women who are strong-willed, confident, and unapologetic about expressing their agency. One particularly noteworthy example can be found in the character of Safeena in Gully Boy (2019), brilliantly portrayed by Alia Bhatt. Safeena embodies the aspirations and unwavering determination shared by many young Muslim women across India. This portrayal not only achieved considerable commercial success but also garnered widespread acclaim. Fans and followers were so inspired by Safeena’s bold style and character that they enthusiastically emulated her on platforms like TikTok and Instagram, creating a wave of engaging content, including reels and memes. These depictions undoubtedly offer relatable roles of Muslim women and contribute to a broader message of social inclusivity and empowerment.

Author’s Bio

Mumtaz Mohiuddin: I am a master’s student at Jamia Millia Islamia, New Delhi with a specialization in Medieval Indian History. My core interests revolve around gender, religion, and culture in South Asia and the Indo-Islamic world. I aim to utilize data-driven research to explore the influence of religion on society and culture during the Medieval and Early Modern periods of Indian history. 

Image Source: https://feminisminindia.com/2017/07/07/muslim-women-popular-cinema-series-flat-characters/