Mapping Awadh’s History through Satyajit Ray’s Cinematic Adaptation of Munshi Premchand’s Short Story ‘The Chess Players’
https://doi.org/10.5281/zenodo.11105883
Author(s): Dr Shradha Gupta
DOI: https://doi.org/10.5281/zenodo.11105883
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Queer Crisis, Stereotypes, and its Psychosocial Impact: A Delve into a Few
Selected Hindi Films
Peeyush
Research Scholar,
Department of Indian and World Literatures,
The English and Foreign Languages University, Hyderabad.
Article History: Submitted-20/02/2024, Revised-08/04/2024, Accepted-16/04/2024, Published-30/04/2024.
Abstract:
The paper critically examines the entrenched norms of a heteronormative society through
the lens of contemporary Indian cinema. Explicitly focusing on the film Cobalt Blue (2022),
directed by Sachin Kundalkar, and Ek Ladki Ko Dekha Toh Aisa Laga (2019) by Ghazal Dhaliwal
and Shelly Chopra Dhar, it explores how these cinematic narratives bring queer issues to the
forefront in the Indian context. The discussion encompasses themes such as bullying in educational
settings, the profound sense of loneliness and isolation experienced by queer individuals, and the
subtle suppression of homosexuality within societal norms. It examines the representation of
delusional jealousy as a manifestation of unspoken desires. Furthermore, the paper scrutinises the
various manifestations of masculinity in these films, ranging from hypo- to hyper-masculinity. It
highlights the limited survival strategies available to queer individuals, including disguise,
pretence, and escapism. The paper emphasises the need for society to acknowledge and normalise
the existence of individuals with non-binary gender and sexual orientations. It also discusses the
challenges faced by Indian families grappling with rigid gender expectations and the psycho-social
adversities encountered by those with non-normative sexual orientations and gender identities.
Keywords: queerness, masculinity, psychological relatedness, child abuse.
Introduction
India’s dominant heteronormative perspective has marginalized long-standing customs and
cultures of same-sex love. Many instances of homosexuality documented in ancient Indian
writings, religions, and other sources have been disregarded. Vatsyayana’s Kamasutra, written in
the ancient era, contains an entire chapter on erotic gay behaviour. The Khajuraho Sculpture,
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constructed in the early seventh century, features numerous examples of erotic art representing
homosexuality. There are pictures of women touching other women erotically and of men showing
off their privates to one another. The Sun Temple in Konark, built in the 1200s, is another notable
example. The Sultans of the Delhi Sultanate were particularly open to homosexual relationships
and practices like launder-bazi during the Middle Ages, despite Sharia’s restrictions against it. They
began relationships with men. The Jamali Kamali tomb and mosque, built in 1528, is also famous
for its spirit of two male lovers who speak of their passionate love story from their graves beside
each other. The monument is one of the most outstanding examples of Mughal architecture in the
country’s capital and is nicknamed the “gay Taj Mahal”. These instances do not mean that pre-
colonial India was very open towards same-sex relations. Indian repression of dissident genders
and sexualities certainly predates colonialism. However, pre-colonial queer repression differed
from its current form in extent and content. Pre-colonial queer repression occurred in local, limited
time/space and coexisted with queer acceptance elsewhere within the borders of space currently
delineated in India. Today, Indian queer repression is temporally eternalized and territorially
generalised through inscription in national laws (Bacchetta 126).
During the colonial era, discussions surrounding sexual and gender identities tended to
focus on the idea that the colonised people’s genders and sexual orientations were different from
those of the colonisers. This is important to keep in mind when considering the reasons behind the
laws created to “normalise” sexual behaviour in the colonies. The British Raj, for example,
believed that homosexuality was “against the order of nature” and that their colonies existed to
make a profit. Foucault delves into this mindset in his book The History of Sexuality, vol. I, and
explains how the propagation of homophobic ideas benefited certain sections of society. Only a
specific type of sexuality – one that was utilitarian and fertile, with the birth of a child being the
end goal – was embraced in social spaces. This suited the capitalist demand during the Industrial
Revolution when labourers were exploited to their maximum. In such situations, people did not
have the time for leisure and pleasure, and sex or sexual activity was completely separated from
the concept of pleasure, limited only to reproduction or to reproduce labour for capitalism. The
dominant people perpetuated this form of sexuality because it was economically sound and
politically conservative. Pleasure and power were linked in a complex mechanism, which has also
impacted India and can be seen in its laws. Even in the film Cobalt Blue, the protagonist Tanay
has a conversation with his teacher during which the latter states,
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“The Church thought so, so did the queen, and the British Raj. And once they left,
we do not know what we think. We are still governed by their laws” (Kundalkar,
2022).
The impact of the British Empire on the Indian judiciary system can still be seen today,
even if laws have changed. Same-sex marriage was recently debated in parliament, with some
arguing that heterosexual marriage is natural and part of Indian tradition. This shows how the
British influenced the perception of same-sex relationships in India. While the Indian Supreme
Court has decriminalised homosexuality, there is still a long way to go before social reforms are
made. The effects of this can be seen in Indian movies, which still often use homosexuality and
effeminacy for comic relief and cast queer characters in stereotypical and antagonist roles.
However, some films like Aligarh (2016), Ajeeb Dastan Hai Yeh (2013), Margarita with a Straw
(2014), and Fire (1996) are changing how homosexuality is portrayed.
Complete heterosexuality is a rare phenomenon, just like total homosexuality. However,
most films portray heteronormativity as the norm, and the Hindi film industry rarely produces
more than one or two films that sensitively focus on the queer issue. Professor Alfred Charles
Kinsey of Indiana University conducted studies on sexuality, gathering several interviews from
Kinsey and others. Subsequently, two books were published: Sexual Behavior in Human Male
(1948) and Sexual Behavior in Human Female (1953). Kinsey’s experiment was a remarkable step
towards normalising homosexuality. Before Kinsey’s report, people were thought to be either
strictly homosexual or heterosexual. However, he described sexual behavior on a continuum,
ranging between 0 (extreme heterosexuality) and 6 (extreme homosexuality), which is a rare
phenomenon.
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Picture source- academics.skidmore.edu.
Deconstructing the Selected Films: A Critical Analysis
Hindi films have regularly featured characters from the LGBT community. While some of
these portrayals have been intended for comedic effect, others have attempted to sensitively and
realistically address the subject matter. Unfortunately, many of these films have failed to dispel
traditional myths surrounding the community. The primary texts for this paper are Cobalt Blue
(2022), directed and written by Sachin Kundalkar, and Ek Ladki Ko Dekha Toh Aisa Lga (2019),
written by Ghazal Dhaliwal and directed by Shelly Dhar Chopra.
Cobalt Blue is a cinematic adaptation of Sachin Kundalkar’s novel, which focuses on two
siblings falling in love with the same man. The film’s protagonists are Tanay, Anuja, and the Paying
Guest, and the narrative takes place in a classic Maharashtrian Brahmin household in Cochin
during the 1990s. The film explores the themes of non-conformity and liberation from convention,
as both Tanay and Anuja defy traditional gender roles. Tanay is an unconventional man who prefers
solitude and writing poetry, and he also assists his mother in cooking. He talks about love,
relationships, and other things, which sets him apart from his brother, who conforms to typical
male behavior. Anuja, on the other hand, is a tomboyish girl who enjoys playing hockey and has
never shown any vulnerability. She plays hockey professionally and rejects preconceived ideas
that limit her thoughts. Both characters seek freedom from conformity in their unique ways and
express their opposition to the prevailing worldview of their families. Tanay prefers solid-coloured
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attire associated with the rainbow flag, while Anuja dresses in a manner not typically associated
with women. Their journey towards a non-conformist lifestyle is profoundly impacted by the entry
of the paying guest into their lives. According to Kiran Keshavamurthy, Cobalt Blue captures the
sensual longing of youth and the disillusionment of disappointed love. However, the prospect of a
new sense of intimacy is also constrained by disillusionment, which applies to Anuja, Tanay, and
the paying visitor.
The 1919 P.G. Wodehouse novel A Damsel in Distress became the basis for another film
chosen for this paper, Ek Ladki Ko Dekha Toh Aisa Laga. Ghazal Dhaliwal and Shelly Dhar
Chopra wrote the screenplay for the adaptation of the latter. The film portrays the story of Sweety
Chaudhary, a traditional Punjabi woman who is afraid of being rejected by society, especially her
family if she comes out about her sexual orientation and gender identity. The film’s plot revolves
around Sweety’s dilemma of being married off by her family and her eventual coming out. It
portrays the societal pressures that individuals in heteronormative societies face and how they must
navigate them. Sweety’s character meets her lover, Kuhu, in the process of matchmaking. Later,
Sahil Mirza, a playwright, helps Sweety fight her battle and plans to write a play for Balbir
Chaudhary’s fashion show. The play, titled “Ek Ladki Ko Dekha Toh Aisa Laga,” features Sweety
and Kuhu as lovers. Initially, people show disagreement with the idea, but Sahil convinces them
by stating it as a new generational fresh story. After many ups and downs, the film concludes with
Sweety coming out in public and defending herself. Sweety’s father returns to the stage and defends
Sweety and Kuhu after reading her diary and realising how lonely and misunderstood she felt her
entire life. The film offers a message that aims to normalise the existence of people with different
sexual orientations without using the terms “lesbian” or “queer.” The film portrays being queer as
another normal without categorising the characters. This approach aims to present the issues faced
by individuals with different sexual orientations without putting them under a single term. While
categorisation is essential for political struggle, it can also be limiting. The selected films do not
categorise their characters but rather reflect the issues they face. These films offer hope that society
will change with time.
Depiction of Child Abuse: A Triggering Issue
The binary division of gender and sexuality can cause distress and anxiety for individuals
who do not conform to societal norms, especially in educational institutions where bullying and
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harassment are prevalent. This can lead to decreased academic performance and the inability to
focus on studies, resulting in a lack of social acceptance and feelings of self-doubt and
unworthiness. Despite the legalisation of homosexuality by the Indian Supreme Court, society still
holds onto its heteronormative beliefs, perpetuated by gendered textbooks and a lack of awareness
and sensitivity among educators. This has led to an increase in bullying, childhood abuse, and
violence in schools and colleges. Students who do not conform to gender stereotypes are at a higher
risk of facing such situations, which can impact their physical and mental health, including anxiety,
stress, low self-esteem, and depression. Sexual violence is also prevalent, leading to students
avoiding washrooms, which can further impact their health and studies. While violence in schools
is a global issue, there is a lack of rules and training courses for students and teachers to address
the problem effectively. Ultimately, this can impact the employment opportunities of individuals
who have faced such violence.
The film Ek Ladki ko Dekha Toh Aisa Laga highlights the issue of school bullying and its
effects on students. The movie portrays the story of Sweety, who faces ostracism from her
classmates after they discover her drawing of two brides holding hands. This leads to her feeling
isolated and mentally alone in her class. Sweety’s only solace is her diary, where she can express
her thoughts and emotions. Additionally, the film also showcases the story of a boy who is bullied
by his schoolmates and is subjected to physical assault and humiliation. This depiction, though
brief, sheds light on the plight of many students who face similar experiences. The film highlights
the need to create a safe and inclusive learning environment where students can express themselves
without fear of discrimination or harassment.
Picture source- www.endvawnow.org Picture source- Screenshot from
Chitthiye video.
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Incidents of school bullying and ragging are pretty common in educational institutions.
However, many such cases go unnoticed and unreported until they reach their tragic end, as in the
case of Arvey Malhotra and Swapnadeep Kundu. Arvey Malhotra, a school student, committed
suicide by jumping off the top floor of his society in Greater Faridabad, India, on February 24,
2022, after being frustrated by school bullying. In his suicide note, he wrote, “The school has killed
me.” Similarly, Swapnadeep Kundu, a first-year student at Jadavpur University, India, died by
suicide on August 9, 2023, after facing homophobic ragging by his hostel seniors. His last words
before jumping from the balcony were, “I am not gay.” As per the investigation, Swapnadeep was
forced to show his erect penis to prove his masculinity, which became the reason for his
humiliation and harassment. These incidents highlight the need for a safe and supportive
environment for all students in educational institutions. It is crucial to stop the propagation of
harmful stereotypes related to queer people and ensure that educational institutions support the
diverse needs of students. Ragging, which is a common phenomenon in schools and colleges, can
have severe consequences, particularly for students who do not fit into the binary division of
gender and sexuality. Therefore, it is essential to take strict measures to prevent such incidents and
create an inclusive environment that respects and supports everyone’s rights and dignity.
‘Appropriate behaviour’ is one of the features expected of everyone in our society. Among
men, this behaviour incorporates the desire to be ‘manly’ among men. These expectations and
unwritten rules become a norm to be followed. It is also one of the possible causes of activities
like bullying and ragging. This ‘desirable’ trait might be one of the reasons for the depiction of
Tanay as an isolated person in the film. Though the film does not explicitly show Tanay’s bullying
in his school, it can be sensed from his behaviour. Bullying also happens in homes; in Tanay’s case,
it can be seen about his brother, where Tanay’s brother can be seen scolding him for not being like
him. Tanay is often asked questions that make him uncomfortable. Many a time, he is asked to
take part in traditional activities, which are typically made only for males; at the time of his
grandmother’s death, Tanay chose to stand with the ladies of the house, but then he was asked to
go for the cremation with the males. Nobody cares about these minor incidences, but stereotyping
and role-defining are problematic for those who do not relate to the role imposed upon them. It
often feels like living in somebody else’s body. Men are often rewarded for their ‘manly’ deeds in
a hetero-patriarchal household. However, if somebody(here, men) contributes to activities
traditionally associated with women, nobody cares about it or is sometimes made fun of. His family
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members entirely ignore Tanay’s interest in cooking. They constantly scold Anuja for not helping
in the kitchen. Anuja is never rewarded for her excellence in sports; to pursue her dream in sports,
she has to escape from the family. This non-supportive nature of family and discrimination based
on gender can be put in the category of bullies. Some unsupportive relatives and family members
can be monsters like those in school or college.
Psychosocial Turmoil: Understanding the Crisis and Its Effects
Loneliness and isolation are everyday experiences for queer individuals portrayed in both
films. Social isolation refers to the feeling of not belonging and the inability to connect and engage
with others. This aspect is presented sensitively in both movies. In heteronormalised societies,
queer men are expected to conform to societal norms, leading to a lack of psychological connection
in their lives, marginalisation, humiliation, physical abuse, and fear of self-expression. Feeling
different can also be incredibly isolating. Overwhelming emotions such as loneliness and isolation
can lead to detrimental psychological changes. Social circumstances can cause biochemical
changes that make a person more vulnerable to contemplating and committing suicide. Those who
are not openly out lack community support, which increases their sense of loneliness and isolation.
This exacerbates the issue since they do not feel accepted in their homes or have support from the
outside world. Statistics show that queer individuals often do not have spouses, children, or
religious associations as seniors, making them more likely to be alone later in life. Priyanka
Uniyal’s work, I Am Your Reflection, portrays the story of homosexual individuals finding a place
in society and presents this crisis in a heart-touching manner. Similar situations can also be seen
in both films. In both films, the protagonist hardly ever meets anyone they can relate to. Uniyal
writes,
“I was crying inside, but my tears could not be whipped.
I was weeping inside, but I could not be heard.
I was bleeding inside, but I could not be aid.
And above all, I was dying inside but I could not be rescued.”
(Yadav, p 102)
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In the film Cobalt Blue, Tanay spends most of his time alone, reading books, listening to
music, etc. It seems as if he does not want his presence to be felt by others. There is a scene in the
film where he observes some boys playing football, and the way he stares at them makes it very
evident that he wants to get involved with them, but the fear of being different stops him from
doing so. There is a pause in the film in this scene, and it is very significant; another virile man
could have easily commented on the boys playing or might have started playing with them, but
Tanay was unable to relate with them psychologically, so he stopped. However, he was able to
initiate a conversation with the Paying guest from his side; he was able to ask him whatever he
wanted. This shows that he was able to relate with the paying guest psychologically, and his
presence removed loneliness from his life, but this happiness did not last long in Tanay’s life, and
the paying guest left. He felt so unrelated to his surroundings that he decided to leave the comfort
of his own house and escape. Another incidence in which this loneliness can be felt easily is in his
teacher’s dialogue,
“As time goes on and as life goes on, you long for friendship, you become lonely;
I am hungry for friendship and companionship; We are living in prison”
(Kundalkar, 2022).
This robust dialogue is sufficient to understand the loneliness experienced by queer people
and forget about sex and marriage; it is even hard to find friends. Advancements in technology
have changed the scene a little, but it has its demerit where people have started blackmailing queer
people. Various cases have been found where people fall prey to some rackets after they become
‘friends’ via online dating applications. A similar case was found in Mumbai, where a model cum
gym trainer, along with three other people, was arrested for blackmailing a hotel executive after
shooting his nacked video. Though the people involved were arrested, such action does not happen
if the victim is not socially and economically sound, which was not the case with a hotel executive
(Singh, April 19, 2014). Though this dates back to 2014, even after the decriminalisation of same-
sex relations, people are afraid of such incidences as they do not want to face social torture after
being ‘exposed’ to everyone.
In the film Ek Ladki Ko Dekha Toh Aisa Laga, Sweety’s life is depicted as isolated and
lonely, except for the time she spends with her friend Kuhu and a few other friends. The movie
starts with a wedding ceremony where all the family members are enjoying themselves with one
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another. However, we can spot Sweety sitting alone, away from the crowd, until she meets Kuhu.
At the movie’s end, Sweety reveals that she had spent her entire life writing about her pains in her
diary, and even her father failed to understand her. Sweety’s dialogue at the end of the film is very
significant in understanding her situation when she revolts against her entire family and speaks her
mind,
“I would never go against you, Dad, if this was just about me. However, it is about
all those children who spend their entire life in loneliness, craving for just one word
of understanding…This play is for the child who lived her whole life inside her
diary” (Dhar, 2019).
Masculinities in the Films Selected: Portrayals and Perspectives
Masculinity is a complex construct that can be defined as both an internal and external
impression. Nigel Edley argues that masculinity is as much an impression from the outside as an
expression from within. The idea of men as slaves to their nature sits fairly quickly alongside the
suggestion that masculinity can be inculcated or stifled (Edley 2107, 24). Masculinity can also be
defined as an expression of the male body and a powerful state of mind. Some characters in both
films exactly fit this definition. Different kinds of masculinity have been depicted in both movies,
like hyper-masculinity and hypo-masculinity. Their family’s decision can reflect this masculinity.
Tanay’s father and elder brother are the perfect example of a hypermasculine character who
believes in following the set social norms because they know that if they follow the rule, they will
be rewarded, the reward associated with patriarchy. Tanay’s elder brother always tries to act virile
and talks about marriage and reproducing children. Men in heterosexual setups are very obsessed
with their genitals, and there is some anxiety about presenting oneself as the father. This
association between phallus and being men is a widespread phenomenon. Becoming a father is
proof of manliness; in the film, Tanay’s brother proudly says he will at least have three children.
He tells Anuja, his sister, that he will reproduce at least three kids. All these are the ways by which
men try to assert their masculinity by showing their virile nature. Furthermore, fatherhood and
marriage are merely the social beginning of the ‘development of human institution’ and ‘ideologies
of male supremacy’, culminating in the separation of public and private realms over which men
exert control (O’Brien,1981:49). Tanay’s father, the Petrarch of the house, is no different he
threatens his wife that she should shift to Cochin with him immediately. Otherwise, he will find
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another means of fulfilling his sexual urge; it seems as if, for characters like Tanay’s father, women
are just sexual objects. This film depicts soft masculinity through characters like Tanay and the
Paying guest, who never restricts others, does not pretend to be virile and participates in household
activities.
In the movie Ek Ladki Ko Dekha Toh Aisa Laga, Sweety’s father is portrayed as a hypo-
masculine character, which means he lacks stereotypically masculine traits. He enjoys cooking in
the kitchen but is not allowed to do so freely because people believe that men only enter the kitchen
to change cooking gas cylinders, which is a heavy and risky task. However, he is not rigid like his
son and is even willing to understand the situation when it is explained. Ultimately, he is the first
member of Sweety’s family to accept her and her decision. On the other hand, Sweety’s brother
represents a toxic masculine character. He enjoys getting involved in fights and abusing others,
has a sense of entitlement, and fails to understand his sister until the end. He is a typical example
of a testosterone-powered Punjabi man. The mass culture often believes in a fixed, true masculinity
that cannot be changed and that it is something that proceeds from men’s bodies or expresses
something about the male body, such as the belief that men are naturally more aggressive than
women. These beliefs are strategic parts of modern gender ideology, and Sweety’s brother perfectly
fits into this argument throughout the film.
The plight of marginalised masculinity is also discussed in Cobalt Blue. Connell writes that
masculinity is necessarily in question in the lives of men whose sexual interest is in other men
because heterosexuality is taken as a granted meaning of ‘love’ in popular culture, and it has
massive institutional support. Men in gay and bisexual networks will be dealing with issues about
gender quite as severe as environmentalists. One aspect of masculine performance concerns the
concurrent suppression of non-heteronormativity, suppression and marginalisation of gender and
sexual identities that did not live up to hyper-masculinist ideals, which is very commonly
observable. Tanay, in the film Cobalt Blue, is not able to share his relationship with the paying
guest with anyone because, in a setting where dominant heterosexual masculinity is embraced,
nobody will understand his feelings. Masculinity is not an innate quality but rather a cultural
fabrication, a public social status that must be striven and maintained in specific social contexts,
and to which peer recognition is essential. Men who do not fit in this product of cultural fabrication
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often hide their desire to get accepted. For such men, life becomes a performance where they must
act like typical men each day so that people see them as usual and as somebody different.
Seeking ‘Liberation’: Escape as a Solution
There is a problem in society where queer individuals are not given enough space and
accommodation, which in turn forces them to either run away from their homes, country, and
relationships or not acknowledge their true selves. Sometimes, they can only express their identity
through written narratives or by escaping from their current situation. This issue is depicted in the
movie Ek Ladki Ko Dekha Toh Aisa Laga, where the characters Sweety and Kuhu plan to elope to
London because they believe their love will not be accepted in India. At one point, Sweety becomes
so exhausted from hiding her true identity that she even considers taking her own life. She confides
in Shahil about this while they are conversing at the Gurudwara.
The film Cobalt Blue portrays the character Tanay, who takes a dose of poison in an
attempted suicide. However, he miraculously saves himself and ultimately runs away from his
family because no one understands him. Tanay’s family members fail to recognise his sadness and
consider it as his casual mood swings or a reaction to his sister’s elopement. Studies show that
LGBTQ+ people make up an estimated 20%-40% of the homeless population despite representing
only 5%-10% of the actual population. While queer people are not inherently prone to suicide,
societal mistreatment and stigmatisation push them towards it. Tanay envies his sister because she
is recognised for her relationship, whereas he cannot express his love for his partner to anyone.
This situation is similar to Irene’s jealousy in the film Passing, which Butler explains in her book
Bodies that Matter. Both characters, Irene and Tanay, cannot express their love publicly because
they are in a heteronormative society, but they choose different paths to come to terms with their
situation. Irene chooses to pass as a heteronormative character, while Tanay escapes from the
heteronormative clutch and runs away in search of peace. Schools and colleges should be careful
about bullying and ragging issues, as they tend to hide such cases to save their reputation, which
is unacceptable. Sensitising social institutions about gender and sexuality issues is crucial, as early
scars can leave a lasting impact.
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Conclusion
Films have the potential to bring about significant changes in society by highlighting
relevant issues. Recently, there has been a growing focus on accurately portraying queer characters
in films. In the past, queer individuals have been misrepresented in films, leading to negative
consequences for this community. Realistic depictions of queer individuals in films can help
society better understand the issues related to queerness. The factors discussed in this paper, such
as bullying and social isolation, have a significant impact on the lives of queer individuals. These
factors are linked to the concept of hegemonic masculinity, which fuels heteronormativity. The
idea of masculinity in our society is associated with virility, machismo, and hardiness. This
construct influences gender roles, and individuals are expected to fit into these roles. Those who
do not fit into these gender roles experience gender performance role stress, which is harmful to
their mental health. Queer individuals who are not strong enough to fight for themselves may
choose death as the solution, try to escape to other countries or live their entire lives in disguise.
After the decriminalisation of same-sex relationships in India, there has been an increase in
discussions about legalising same-sex marriage in the country. Although marriage is a patriarchal
institution, homosexual relationships must gain legal recognition. Homosexual couples do not
have any claim over each other’s property or assets, and they cannot buy homes together without
legal recognition. It is crucial to focus on the historical erasure of same-sex eroticism and the
forced naturalisation of heterosexuality. Films that accurately depict queer individuals can help
create awareness among society.
Works Cited:
Alfred
C.
Kinsey:
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