137

WHATSAKISS:THEUNCHASTECHASTITYOFBOLLYWOOD
DEVONBURKE
MARYBALDWINCOLLEGE

OnereasonBollywoodfilmshavesuchuniversalappealisbecausetheyre
squeakyclean.BobSimon,60Minutes 1

Theconstantresorttosubterfugehasturnedintoagameofgettingthe
betteroftheCensorTheresultsareoftenobvioustothespectator,who
istherecipientoftheirdifferences.Allthismakesourcinemathemost
trulyeroticintheworld.KobitaSarkar,Youcantpleaseeveryone!Film
censorship:Theinsidestory2

Dashingheroes,epiclovestories,powerfulmusic,andgrandiosesetsallnearly
ubiquitouselementsofthemoviesproducedbythemostprolificfilmindustryin
theworld:Bollywood.Distributingmorethan800filmsannually,Bollywood
fuelsoneofoneofIndiasgreatestnationalpastimes,drawingnearly12million
viewerstothetheatereveryday.3PostersofBollywoodsmostbelovedactorssell
onthestreet,alongsidepicturesofKrishnaandGanesh,twoofIndiasmost
belovedandwidelyworshippedHindugods.4Filmsongsareperformedat
weddingsinplaceofmoretraditionalmusic.5Filmisanindispensableandhighly
influentialaspectofIndianculture.

Bollywoodfilmsfeaturemultigenreplots6,andromancealmostalwaysfigures
prominentlyinstorylines.Unlikemostwesternfilms,however,Bollywoodfilmsare
devoidofsexscenesoneofthebetterknownfactstowesternerswhohavescarcely
heardoftheworldsmostsuccessfulfilmindustry.Kissingappearsonlyrarely,thoughit
isslowlybecomingmoreprevalent.Thislackofonscreensexualityisnotstartlingto
Indians.AsactressAishwaryaRaipointsout,Itsreallyareflectionofourculture.7
Rai,Aishwarya.Interview.

SixtyMinutes.2January2005.
AishwaryaRaiisoneofthemostfamousactressesinBollywoodandisconsideredbymanytobethemost
beautifulwomaninworld.
2
Pendakur,Manjunath.IndianPopularCinema:Industry,Ideology,andConsciousness.

Cresskill,New
Jersey:HamptonPress,Inc.,2003.p.157
3
Kabir,NasreenM.
Bollywood:TheIndiaCinemaStory.London:Channel4Books,2001.p.1.
4
LargerthanLife:IndiasBollywoodFilmCulture

,DVD.DirectedbyHelleRyslinge.2003,Princeton,
NJ:FilmsfortheHumanitiesandSciences,2005.
5
Kabir,p.180.
6
WhiletheBollywoodsplotscovermanybases,therearefoursubdivisionsofbasicgenrethatapplyto
mostfilms:mythologicals,devotionals,socials,andhistoricals.
Chapman,James.CinemasoftheWorld.London:ReaktionBooksLtd,2003.p.348.

7
Rai.

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However,thislackofkissingandsexonscreenhasledtoanassumptionintheWestthat
Bollywoodsfilmsareunnaturallychaste.Yet,thisisfarfromthetruthofthematter.
WhilecensorshipinIndiaseverelylimitsonscreenphysicalaffection,sexualityis
omnipresentandemphasizedthroughinnuendoateveryopportunity.

ItistruethatIndiahasstrictcensorshiplawsgoverningthecertificationand
distributionoffilmswithinitsborders,aswellastheforeignfilmsimported,8butthis
doesnotprecludesexualitybyanymeans.Filmmakersandcensorsareinaconstant
struggle,eachtestingthelimitsoftheother.Sincethefirstcensorshiplawswerepassed
in1918,9 producersanddirectorshavemadeanartofintegratingsexualityintoscenes
withoutactuallyincludingsex.Despitethelackofovertphysicalsexualityonscreen,
Bollywoodsfilmsarebrimmingwithsexuality.ThesexualitywithinBollywoodsfilms
ispresentedinamethodicalmannertailoredtofiteachspecificfilm.Filmmakersoften
utilizesuchaspectsasreligion,setting,andtheinevitablyubiquitoussonganddance
sequencesasmediathroughwhichsexualitycanbedisplayed.10

ThefilmmakersofBollywoodensurethathemlinesareshortened,bodiespushed
closerthroughdance,andthehindranceskeepingcharactersfromvocalizingtheirsexual
desiresareremovedbyprovidingsongs.Bythesemeans,andtheexperthandlingof
relationshipsandcharacterizationwithineachspecificfilm,sexualitysitsprominentlyat
theforefrontofatechnicallychasteBollywood,withorwithoutkissing.

Background

Bollywoodisafarcryfromthefilmindustryfromwhichitsnamederives,andin
morewaysthanjustitslackofsexscenes.UnlikeHollywood,whichhasaphysical
locationinCaliforniaintheUnitedStates,Bollywoodisacategoricaltermforthe
commercialblockbustersofIndia.MostofBollywoodsfilmsareoftenproducedin
urbancenterssuchasMumbai(formerlyBombay).11 ThefilmstermedBollywoodallrun
inthevicinityofthreehoursinlength.12 Filmisanearlyuniversalformofentertainment
inIndia,beingthemostaffordablepastimebyfar.However,despitetheimmensenumber
offilmsproducedeveryyear,onlyafewsucceed.AsBollywoodsleadingman,Shah
RukhKhan,notes,Outofthe180Hindifilmsthataremade,onlyeightdowellSo
172filmsarerejectedstraightaway.13Thisfactmayaccountforsomeofthe
8

Chapman,p.337
Ramareddi,Padala.CinematographCode.Hyderabad:CinematographLawsResearchInstitute,1969.
p.17.
10
DanceinBollywoodisaconflationofmanydifferenttypesofdance,fromclassicalIndiandanceto
hiphop.Itgenerallyemphasizespelvicmovementandistermedfilmidance.
Kabir,p.193.
11
Chapman,p.336
12
Kabir,p.23
13
Kabir,p.217
Here,Hindireferstothelanguageinwhichthefilmsareproduced.Fulllengthfilmsaremadeinover20
differentlanguagesinIndia.Pendakur,p.24
9

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overthetopspectaclesoindicativeofBollywood,asfilmmakersknowthatcapturingthe
audienceisthekeytosuccess.

Sexualityisalsoadefinitiveaspectofafilmsultimatesuccessorfailure.Oddly
enough,onscreensexualityhasnotalwaysbeentabooinBollywoodsfilms.Before
1947,kissingwasnotatallunheardof.14Today,however,veryfewfilmsfeaturesuch
overtphysicalaffectiononscreen.Ithasbecomeanunspokenrule,althoughthecensors
arenotabovecertifyingfilmsincludingkissing,asexhibitedbyafewBollywoodfilms
aswellasthegrowingnumberofIndianartfilms,alsoknownasNewCinema.Artfilm
isaverydifferentformofmovieinIndia,muchmoreakintothefilmsthatHollywood
produces.Artfilmsdonotalwaysfeaturethesonganddancesequencesthataregenerally
presentonlyinfilmsofthemusicalgenreinthewesterntradition.Thefilmmakersare
alsomoreliberalwithsuchaspectsaskissingandviolence.15 Producersofartfilmsmust
stillbecautiousoftheiruseofonscreensexuality,asthesamelawsofcensorshipstill
apply.IndiasNewCinemaisnomoreexemptfromnationalregulationsthan
Bollywoodscommercialfilmsare.

AllIndianfilmsaresubjecttotheCinematographCodeandtheCentralBoardof
FilmCertification,whichensuresthatthecodeisupheld.Filmcensorshipfirstappeared
legallyinIndiain1918undertheCinematographAct,setinplacebytherulingBritish
Empire.16 Today,the1952CinematographCodeservesasthelawgoverningfilm
regulation.Itspecificallyprohibitsrelationsbetweenthesexesthatlowerthe
sacrednessoftheinstitutionofmarriage,orsuggestthatillicitsexualrelationsare
ordinaryincidentsoflife.Excessivelypassionatelovescenesandindelicatesexual
situationsarenotallowedeither.17 Withsuchabroadyetsubjectiverealmofcontentto
whichtheselawsapply,itislittlewonderthatfilmmakershavereliedonsubtlewaysof
incorporatingsexualityintoBollywoodsfilms.

Asaresultofthestricturesplaceduponthembythegovernment,Indias
filmmakershavefoundmanyloopholestothelawstheyareboundtofollow.Some
filmmakershaveeven,overtheyears,developedsuchpoliticalconnectionsandinfluence
thattheycangetafilmcertifiedbythecensorsthatwouldnotordinarilybedistributed
wereitproducedbyanother.18 However,mostfilmmakersmustexpertlyworkaroundthe
CinematographCode.Censorsmaydemandanythingfromtheeditingofasingleshotto
thedeletionofentirescenes,yetthedifferinginterpretationsoftheCinematographCode
bymembersoftheCentralBoardofFilmCertificationcancausewidespreadimbalances

14

Pendakur,p.163
Kabir,p.4
16
Chapman,p.330
17
Ramareddi,p.28
18
Bose,Derek.BollywoodUncensored:WhatYouDon'tSeeOnScreenandWhy.NewDelhi:Rupa&Co,
2005.p.20
RajKapoorisonesuchfilmmaker.InhisfilmRamTeriGangaMaili(1985),hewasabletoobtain
certificationdespiteasceneinwhichhisleadactresssbreastswerevisiblethroughherwatersoakedsari.
15

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intherepresentationofsexualityacrossIndiancinema.19Intheend,whilethecensors
maybemorelenientastimepasses,basicregulationsmustbeconformedto.Manyofthe
topgrossingfilmsinIndiaareprimeexamplesoftheproducersmeticulousmaneuvering
aroundthecensorsscissors.

Ineachofthesefilms,thefilmmakershavecarefullydovetailedsexualitywiththe
plots,settingsandmusicalsequencesofthefilm.Theyappeasethecensorsbykeeping
overtphysicalsexualitytoaminimum,insteadincludingveiledandcodedsexualityin
theformsofinnuendoandsuggestionasitisappropriatetoeachfilm.Acloser
examinationofthepresenceandrepresentationofsexualityinBollywoodsfilmsreveals
theintegrationofsexualitybymeansthataresuitableforeachindividualfilmaswellas
conventionalmethodsfoundalmostuniversally.

SexualityinRangeela

RamGopalVarmasRangeela(1995),whichtranslatestoColorful,isafilm
aboutayoungdancer,Mili(UrmilaMatondkar),whodreamsofbecomingaBollywood
star.Shecatchestheeyeofherfavoritestar,RajKamal(JackieShroff),andiscastasthe
heroineinhisnextfilm,whichistitledRangeelainabrazendemonstrationof
metatheatricality.Thisfilmisoneofthefewtobreakthetabooofnokissing,and
expertlyusesitsplot,integratingthemoviewithinthemovie,toincludesexuality.
Rangeelaisalsoanaptexhibitionofthemoretraditionalformsofcinematiccensor
subversion,suchasthedancesequencesandcostuming.

Asfilmisultimatelyanescapefromreality,thestoriesdepictedonthesilver
screenareadeliberatemeansofsuspendingreality.Thisfactisespeciallyapparentin
Bollywoodcinema,inwhichthemajorityoffilmshavehappyendings.Filmmakershave
longbeenawareoftheinherentfantasyoffilmandhavelearnedtousethatfacttoits
fullestadvantage,particularlywhereitcomestothestrategicintegrationofsexualityinto
thatmedium.

InRangeela,thefilmmakersexpertlyusethefilmsplot,whichcreatesamovie
withinamovie,seamlesslyweavingsexualityintoRangeela.Thisoccursmostnotably
whenMiliisshowingMunna(AamirKhan),herloveinterest,aroundthefilmstudioat
whichsheworks.Thetwopredictablybreakintosonganddance.Thesequenceisfilmed
asthoughthetwowerepartofnumerousfilmsofvariousgenresfromajunglesetting
withMiliinstereotypicallyTarzanlikeclothingtoaBroadwaymusicalwheretheywear
suspendersandfedoraesquehats,completewithatroupeofbackupdancers.

Notonlydoesthesequenceallowthemtotranscendtheiregosinthefilmsreal
worldtoadmittheirfeelingsforoneanother,itallowsthemtoexpresstheirsexual
attractiontooneanother,evenbreakingthekissingtaboo.Yetinthisbreachoftradition,
theystillmanagetobediscreet,despitesimultaneouslyaddingaformofovertphysical
19

Pendakur,p.74

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sexuality.EachofthetwotimesMiliandMunnakiss,thecameracutsawayonlya
momentaftertheirlipsmeet,leavingthedetailstotheimagination.Suchisthenatureof
muchsexualityinBollywoodsuggestive,butrestrained.Thecensorshavelittleto
complainabout,yettheaudienceisleftwiththeinitialimage,whichitsmemberscan
contemplateastheywish.

ThefilmmakersofRangeelaalsoutilizethestorysplotandmodernsettingto
allowtheinclusionofparticularlyrevealingcostumesandanextendedsolodance
sequenceforMili,whichispossiblythemostovertlysexualsequencecontainedinanyof
thefilmsdiscussedhere.Costumingisaparticularlyimportantfacetofthesexualityin
Rangeela.Milistopsarealwaystightandfairlylowcut.Herwardrobeconsistsmainly
ofleotards,hotpants,andshortskirtsthattwirlwiththeslightestmovement.Thescenes
inwhichMiliwearshershortestskirtsanddressesshowamarkedincreaseinthenumber
oflowangleshots,thoughofcoursenoneoftheseshotsisactuallyfromananglethat
compromisestheactresssmodesty.

HowevermuchthefilmmakersprovethemselvesartistsinthehandlingofMilis
costumes,theydemonstratethetruelimitsofsexualityinRangeelathroughMilissolo
dancesequence:abeachsideworkoutinredleotardpants,midriffbaringshirt,andhip
scarf.Thissuggestiveelementofthemovieisincludedonthebasisofnecessary
characterizationandplotdevelopment.Theseaspectsofthescenelegitimizeitspresence
withinthefilm,makingthedancemorethanmereexhibition.Asforcharacterization,the
dancesequence,whichlastsfornearlythreefullminutes,showsMilisdedicationtoher
workasadanceraswellasherability.

Asaplotpoint,thissequenceactsasacatalystfortherestofthefilm.RajKamal,
Milisfavoriteactor,happenstopassbyandseesherworkout,evenstoppingtositdown
andwatchher,whilesheremainsoblivioustohispresence.Eventhisaspectofplot
augmentsthesexualnatureofthescene.Hisvoyeurismaddsanotheraspectofsexuality
tothealreadyheateddance,butitalsoleadstoRajKamalselectingMilitoplaythe
heroineinhisnextmovie.Thedance,towhichthesettingofthebeachaddsitsown
specialelementofsensuality,involvesagreatmanycloseupsofMilishipsanda
surprisingamountofgyration,interspersedwithmuchleapingandfrolicking.Thoughthe
sceneissexuallyenticing,thefactthatMilidancesbyherselfcreatesadistancebetween
thesexualityofthedanceandtheactofsexitself,asthetwoimpliedmembersare
physicallydistant.Miliissomethingtobeobserved,notapersontointeractwith.This
remotenessofproximityhelpstomaintainasmallpretenseofinnocence,thoughonethat
isquitearguablycontrived.

ThroughtwoofBollywoodsmostdependablemeansdancesequencesand
costumingRangeelaeffectivelydisplaysagreatdealofsexuality.Withitsown
personaltwistsonsexualcontent,specificallyMilisextensivesolodance(completewith
voyeur)andthefilmmakersaudacitytoincludekissing,Rangeelaexhibitsnotjust
sexuality,butasexualitythatkeepstheaudienceatadistance.Fromitsimplicationsof
voyeurismtoitsuseofmovieswithinthefilm,thecharactersthemselvescannottruly

142

reachoneanotheronaphysicallysexuallevel,creatinganevengreaterbarriertothe
audience.Thefilmissensualandtantalizingwithoutactuallyrevealingmuchof
anything,whichisaqualitycommontomanyBollywoodfilms.

Sexualityinkabhikhushikabhiegham

KaraJoharsKabhiKhushiKabhieGham(2001),whichtranslatestoSometimes
Happiness,SometimesTears,isafilmconcerningtheimportanceoffamily.Themain
character,Rahul(ShahRukhKhan),choosestomarryAnjali(Kajol),whomheloves,
insteadofthegirlhisfather(AmitabhBachchan)haschosenforhim.Thisleadstoa
tenyearestrangementfromhisfamily,whichRahulsyoungerbrother,Rohan(Hrithik
Roshan),setsouttofix,trackinghiselderbrotherdowninLondon.ThesettingofKabhi
KhushiKabhieGhamprovidesampleroomforthefilmmakerstotakelibertieswiththe
filmssexuality.GreatBritainsvastlydifferentcultureservesasanexcusetoadd
increasedsexualitythroughtheexaggerationofwesternsexuality,particularlyintheform
ofclothing.20

Whileamodernsetting,inandofitself,providesagreatdealoffreedomfor
filmmakerswishingtousealiberalamountofsexualityintheirfilms,aforeignsetting
providesevengreaterartisticleeway.InKabhiKhushiKabhieGham,thesettingofthe
filmssecondhalf(London)allowedJohartoexercisesuchfreedom,usingthecultural
differencesinordertoenhancesexuality.Filmmakerscanarguethatanysexuality
portrayedinfilmssetinforeigncountriesisonlyusedasawaytopromotethegreatness
ofIndia.ThisjustificationisspecificallyillustratedbythetransformationofAnjalis
youngersister,Pooja(KareenaKapoor),whogoesfromwearingverylittleinthewayof
clothingwhileinLondonmimickingtheBritishgirlsinthefilmtodressingin
traditionalIndianclothing.21Thepointisnotthetransformationitself,butrathertheuse
offoreignsettingasanexcuseforPoojatodressscantilyinthefirstplace.

TheconductanddressoftheBritishgirls,whoarescarcelyshowninmuchmore
thanminiskirtsandmidriffbaringtops,serveasamorethanconvenienttoolforthe
conveyanceofsexuality.KabhiKhushiKabhieGhamemphasizesthedifferencebetween
atrueIndianwomanandthescantilycladBritishwomen,whosenumberincludesthose
IndianwomenwhohavebecomesubsumedbyBritishsocietylikePooja.WhenRohan
20

TheCinematographCodeactuallyforbidstheexhibitionofthebodyindecorouslyorsuggestively
clothed.ItisalsoagainsttheCodetoshowafilmthatislikelytoarousedisrespectofaforeigncountry
orisliabletobelookeduponbyaforeigncountryasderogatorytoitself.
Ramareddi,p.2829
21
CharacterdevelopmentinBollywoodfilmsoftenfollowstraditionalguidelinesofconduct,andafemale
characterthatdoesnotfollowthoseguidelinesgenerallyconformstothembyafilmsclose,especiallyif
shefallsinlove.
Kabir,p.74

143

firstarrivesinLondon,herunsintoagroupofIndianwomeninthemiddleofa
traditionaldanceincustomarygarb.Onlyafewshotslaterinthemontage,Rohanfinds
himselfonacollegecampus.Itisdifficulttospotasinglegirlonthecampuswithher
abdomencoveredbyhershirt.Infact,inthefollowingdancesequence,awholetroupeof
cheerleaders,intheirpredictablybarelythereoutfits,jointhethrong,addingtothesexual
overtoneofthesetting.

ThefilmlaterexhibitsasimilarcasewhenRohanfollowsPoojatoanightclub.
ThewomenareevenmoreimpracticallydressedthaninRohansintroductiontoLondon,
anditisdifficulttospotevenonepersonnotwearingatleastonearticleofclothingmade
ofvinyl.Thisuseofforeignclothingtrendstoconveysexualityisnotlimitedtowomen,
however.Rohansoutfitseemstobemadeentirelyofvinylaswell.Hisshirtistightand
hisarmsarebare.Thiscostumingchoicecanperhapsjustifiedasawaytointegratehis
characterintotheLondonsetting,butitalsofunctionsasanodtotheexpectationsofthe
womenintheaudience.22

Poojasfirstappearanceinthemoviessecondhalfisarathersexymontage,
whichmakesitquiteclearthatsheisnolongerthelittlegirlshewastenyearspreviously.
ThemontageisusedtoclearlyshowherconversiontoaBritishwayoflife.Thecamera
focusesonherexposedabdomen,herhandshookingherbrabehindherback,andher
applicationofvastquantitiesofmakeupwhilesheshakesherhipstoItsRainingMen
bytheWeatherGirls.ThissequencenotonlyestablishesPoojasnewadultcharacter
traits,butcreatesanextremelyopportunesceneinwhichtoincludedefensiblecharacter
buildingdancingbytheattractiveyoungactress.So,KabhiKhushiKabhieGham,inits
turn,exploresanotheraspectofsexuality,asportrayedthroughitstemporalandforeign
geographicsetting,anaspectuniquetothisfilm.

SexualityinDevdas

SanjayLeelaBhansalisDevdas(2002)recountsaclassictragedyrootedincaste
difference.23Thetitlecharacter,playedbyShahRukhKhan,isinlovewithParo
(AishwaryaRai),hisneighborandchildhoodsweetheart.ThestorybeginswithDevdass
returnfromatenyearstayasastudentinLondon.ThelovebetweenhimandParois
apparentfromthefilmsoutset.However,Paroisofalowercaste,andDevdassfamily
refusestoacceptthematch.Paromarriesarichwidower,andDevdasdrownshissorrows
22

UseofcostumingtoenhancemalesexualityisusedearlierinKabhiKhushiKabhieGhamaswell.
DuringadancesequenceinfrontofthepyramidsatGiza,Rahulsshirtsareallseethrough,afactthatis
lateraccentuatedafterheisdrenchedinwater.
23
DevdasisbasedonanovelbyBengaliwriterSaratchandraChatterheeandwasfirstmadeintoafilmin
1935.Ithasbeentoldinthemediumoffilmmorethanfourteentimes,andBhansalisversionisoneofthe
mostexpensivefilmstobeproducedinBollywood,supposedlycostingnearly500millionrupees
(approximately4.5millionU.S.dollars.)
Chapman,p.329,346
GeoffroySchneiter,Brnice.IndianBeauty:BollywoodStyle.Trans.DekeDusinberre.NewYork:
AssoulinePublishing,2004.p.14

144

inalcohol,takingupresidencewithacourtesan,Chandramukhi(MadhuriDixit).The
presenceofacourtesanprovidesplentyofopportunitytoslipsexrelateddialogueinto
thefilm.However,sexualityofthetypemostprominentinDevdasisfoundmostly
throughvisualmetaphorandreligiousiconography.

Sometimes,dependinguponcontext,sexualityinBollywoodfilmscomesthrough
inveryuniquepackages,oftenonesthatawesternaudiencewouldneedsomeknowledge
ofIndianculturetounderstand.Oneveryspecificmethodforintroducingsexualitytoa
pointedlychastesituationisreligion.24Allusionstoorimplementationofthestoriesof
KrishnaandRadhaoftenworkasvehiclesforsuchsexuality.25Thoughtheloveof
Krishna,oneofthemostimportantgodsintheHindureligion,andRadha,hisconsort,
andtheirtrystsonthebanksoftheYamunaRiverareanexampleofcompletespiritual
devotiontoLordKrishna,thesexualnatureofthetalescannotbedenied.Filmmakersuse
thesetointroducearespectable,culturallyacceptableformofsexuality.

InDevdas,Parosmother,Sumitra(KironKher),beginsasonganddance
detailingthefirsttrystofKrishnaandRadhabytheYamuna.Thissensualsongoverlays
asceneofParoandDevdasbyariveroftheirown.Parosvoicetakesonthepartof
Radhainthesong.So,thisdirectcomparisonoftherelationshipofDevdasandParoand
therelationshipofKrishnaandRadha,downtothesetting,addsanundeniablysexual
overtonetothesituation.

Devdas,initstraditionalstorylineandsettingintheearly20thcentury,employsa
greatdealofsymbolisminconveyingsexuality.Atthebeginningofthepreviously
mentioneddancesequence,Parostepsonathorn,whichshespendsaportionofthe
ensuingsongsequencetryingunsuccessfullytoremove.Devdascontinuallypreventsher
fromdoingso,andhehimselfremovesthethornfromherfoot,kissingthebleeding
puncturewound:aratherstraightforwardmetaphorforsexualpenetration.

Inthisscene,thesettingaddssensualityonitsown,aseparateelementfromthe
overlyingsongaboutKrishnaandRadha.Earlierinthefilm,asDevdasandParosinitial
reunion,DevdassaysthatParoisabiggirl,andherreplyisthatThestreambecomes
ariverinitswishtoreachthesea.Thecommentisareferencetoherlongingtobewith
himduringhistenyearsofabsence,andthisyearningofParosturnstherushingriver
besidethemintoanextendedvisualmetaphorforthepassionParoandDevdasfeelfor
oneanother.Thisisespeciallyapparentinonefarshotwherethetwolieineachothers
arms.Thetworemainmotionless,butthecameraviewsthemfromovertheedgeofthe
roaringwaterfall,belyingthetranquilityoftheirphysicalformswiththeconstanttorrent
ofthewaterfall,anallusiontothefloodofemotiontheyfeelinside.

24

Bose,p.67
Venkateswaran,T.K.RadhaKrishnaBhajanasofSouthIndia:APhenomenological,Theological,and
PhilosophicalStudyinKrishna:Myths,Rites,andAttitudes.Chicago,Illinois:TheUniversityof
ChicagoPress,1966.p.139

25

145

Duringthesamescene,oneofBollywoodsfairlycommonvisualmetaphorsis
employed:theveil.26InBollywoodcinema,aveilwornbyawomanisoftenasymbolof
virginity,andtheremovingofsuchaveilbyamansuggeststhelossofvirginity.27When
ParoisfirstattemptingtodiscourageDevdassadvances,shepullshertranslucentveil
aboutherfaceandshoulders.Devdasproceedstopulltheveilfromherandthrowsitto
theground.Despitethepointedchastityinherentintheirrelationship,thisisastrong
metaphorforthesexualdesirethetwoshare.

Ultimately,inkeepingwiththeplotdictatedchastitybetweenParoandDevdas,
thesexualityconveyedisoftenevokedsymbolically,eventhroughreligion.Thisuseof
religionplacestheirloveonahigher,purerlevelandalsokeepsthefilminlinewiththe
moretraditionalvaluesofthefilmssetting.Again,theindividualfilmsnecessities
dictatethewaysinwhichsexualityisincluded.

Commonsexuality:lyrics

Whilefilmmakersusetheplots,characters,andsettingsoftheirfilmstothebestoftheir
abilitiesinexpressingsexuality,thereareaspectsofBollywoodthatchangeverylittle
fromfilmtofilmthatarejustaseasilyemployedasvehiclesfortheincorporationof
sensuality.SonganddancesequencesarefoundalmostubiquitouslyinBollywood,and
filmmakersusethesebuiltinsuspensionsofrealityinavarietyofways.28Thesepauses
inthefilmsimmediateactionnotonlyallowthecharactersmorephysicalcontactthan
theywouldbeallowedwithintheirexistencesintheirfilmsworlds,buttheyalso
provideanopportunityforthecharacterstosaythingsthattheywouldnotnormallyhave
theopportunitytowithingeneralsocietalstrictures.Thesetwousagesgreatly
complementoneanotherandenhancethelevelofsexualityinafilm.

InRangeela,thefirstdancesequencebetweenRajKamalandMiliisnotamere
suspensionofreality,nordoesitfunctiononlywithinplotasashootfortheirfilm
together.Thesceneisalsoameanstoincludesexuality,containingmildlysuggestive
lyrics.RajsingstoMilisuchlinesas,DistanceswontdoComecloser,whilepulling
Miliphysicallytohim.However,thisdoesnotconveythefullextentofthefilms
sexuality.Asthefilmcontinues,particularlyinthesequencesbetweenRajKamaland
Mili,thelyricalsuggestivenessbecomesunabashedraciness.Duringtheirlastsong
together,thetwotakeonanalmostanimalisticphysicalstance,circlingoneanother.Raj
Kamalsings,Yourfairarms,yourbody/Theymakemesorestless/Yourwetlipsand
yourintoxicatingeyes/awakenthedesiresinmeThesesexuallyricscomeasRaj
KamaldipsMili,runninghislipsoverherneck.

26

Bose,p.70
ThesamemetaphorisusedtwicebrieflyinKabhiKhushiKabhieGham.
28
ThemusicalsequencesinBollywoodfilmscantakeupaquartertoathirdofafilmstotalrunningtime.
Chapman,p.347
27

146

InKabhiKhushiKabhieGham,thesongsfollowasimilartrend,becomingincreasingly
overtintheirsexualcontentasthefilmprogresses.Duringtheearlysongsequencein
whichRahulandAnjaliproclaimtheirloveforeachotherinfrontofthepyramidsat
Giza,nolessthelyricsimplyafairlytame,metaphorbasedversionofsexuality.Rahul
sings,Thecolorsofoursoulshavemeltedintoone.Anjalireplies,Icantsaywhich
ofmeisyouandwhichofyouisme.Thesongcontinues,Theheartsofflamehave
beensetafire.Thetwodancetogetherinthedesertthroughoutthesong.

Later,whentheyoungerlovers,PoojaandRohan,proclaimtheirloveforoneanotherina
Londonnightclub,thesexualityintheirsongslyricsislesssubtle.Rohansings,This
momentofblissintoxicatesme.AsPoojawrapsherarmsaroundhim,headds,Iwant
toholdyoutight.Thephysicalcontactblatantlystatedinhiswords,whilepairedwith
hermirroringactionsmakesthesexualtensionbetweenthetwomoreallthemore
obvious,andthusthesexualityitselfisverypronounced.Inbothcases,thelyrical
connotationsarefarfromprudish.

AllofthelyricsinDevdascontainamoreveiledsexualitythanineitherKabhiKhushi
KabhieGhamorRangeela,duetothenatureofthefilm.DuringParosfirstsong(the
titleofwhichtranslatestoTheLongingINeverLetDie)Parorevealstheextentofher
love,describingtheflameshehaskeptlitforthetenyearsofDevdassabsence.She
sings,Asthislampburns,Imburninginmyeveryporeandmyheart.Parosmother
expressesasimilaremotionduringhersongaboutRadhaandKrishna,singingindirectly
ofParoandDevdassdesire.Shesings,Thirstingineverybreath,searingpassionin
theirhearts.Suchoverwhelmingemotionisanobviousreferencetotheintensityofthe
actofsexandbeliesasexualattractionwhichisexpressednowhereelseinthefilm.

Towardtheendofthemovie,ParoandChandramukhisingtogetherinacelebrationof
theirmutualloveforDevdas.ThetitleofthesongisDolaRe,whichtranslatestoThe
Throb.Parosings,Iwillgiveintotheecstasyofthethrobthatswaysmyheart,my
soul.Theloveofwhichthewomensingobviouslytranscendsthespiritualoremotional.
BothlongtoholdDevdasintheirownarms,eventhoughneithercan.

Bollywoodseverpresentsongsallowfortheexpressionofunspokendesireandeasily
relatethesexualityimpliedthereintoanaudience.However,therearestillothercommon
methodsbywhichBollywoodfilmmakersexpresssensualaspectsoftheirfilmssome
thatarefarmoreblatantandfarlesspoeticthansonglyrics.

Thematicsexualityanddialogue

Sexualitycontainedwithinplotorsubjectmatteroftenappearsratherblatantlyin
Bollywoodsfilms.InRangeela,aslittlesexualityisinherentinthemainstoryline,most
ofthesexualityisdisplayedinthesonganddancesequences.However,thereareafew
rathersuggestivelinesincluded.Anunrulycrowdmemberdeliversonesuchlinewhile
MiliandRajKamalareshootingascenefortheirmovie.Hecallsout,Willyoutango

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withme?ThelineistrulymadeprovocativebytheshakingofthemanshipsinMilis
direction.TheinappropriatenatureofthelineiscementedevenfurtherbyRajKamals
reaction.Hephysicallyattacksthemanforhisrudeness.Thepoint,however,isthe
presenceofsuchacommentinthefilm.Theconnotationoftangoisovertlysexual,and
itsuseisdeliberatelyhighlighted.

InKabhiKhushiKabhieGham,naturallypresentsexualitypertainingtospecificcouples
ismarked.WhenRohanfirstmovesinwithRahulinLondonpretendingtobeacousin
ofoneofPoojasfriendsRahulprotestsmightily,becausehedoesnotwantanyone
lookingatPooja.PoojaalsomakesnoattempttohidefromRohanthatshefindshim
attractive.ThesexualattractionbetweenRahulandhiswife,Anjali,manifestsitself
brieflythroughdialogue.Althoughthemostphysicalaffectionoutsideofdance
sequencesthatmakesitonscreenbetweenthetwoisakissonthecheek,Rahulmakesthe
commentatonepointthat,[Anjalis]affectionisquiteoverwhelming.Towhich,
Anjalireplies,YesThatsbecauseyouarelookingextremelywhatdotheycallit?
Sexy.29Thereisanobviousattempttobringthephysicalaspectoftheserelationships
betweenthecharacterstotheforefrontofthefilm,despitetheinabilitytoexpressit
visuallythroughthecharactersrealtimephysicalactions.

Whilethesexualqualityoftherelationshipsisrelayedwell,thefilmmakersofKabhi
KhushiKabhieGhamalsousedspecificcharactersasfocalpointsofsexuality.In
addition,theimplicationsofthesexualizedsettingareintegraltotheexpressionofsuch
charactersinherentsexuality.Poojaisundoubtedlythemostovertlysexualcharacterin
thefilm,whichstemsfromthefactthatsheisthecharactermostinfatuatedwithBritish
culture.Becauseofthisconnection,othercharactersreactionstoPoojas
oftenoutrageousbehaviorhighlighthersexualityallthemore.Whenshedescendsfrom
herroomafterherintroductorynumber,herstateofattire(apink,sequinedhalfshirtand
beigeminiskirt)shocksherbrotherinlaw.Rahulnearlyjumpsatthesightofher.Pooja
repliestohisreaction,saying,Youscaredme.Rahulreturnsthesentimentandasks
wherethebackofhershirtis.Assheleaves,heproceedstoaskAnjalihowshecouldlet
Poojaoutofthehouselikethat.Thesexualityisbrushedoffasanormalstateofaffairs
whenAnjaliandthemaid,Sayeeda(FaridaJalal),tellRahultotakeachillpill.Itis
obvious,however,thatPoojasattireismeanttodrawasmuchattentionasthe
exaggeratedBritishaccentsheemployswhilespeakingEnglish.

PoojasoverallattitudeinLondonexudessexualityandchangestheentire
balanceofthefilm.Onlyafewminuteslater,asshemeetsherfriendsinfrontofthe
house,PoojadescribesherselfasP.H.A.T.:prettyhotandtempting.Whensheis
attemptingtomakeRohanjealousbyturningherattentionstoanotherman,Robbie,she
fiercelygrabshim,holdinghimclosetoherrightinfrontofRohan,saying,Youlook

29

Thiscommentmay,however,haveanotherdistancingeffect.ThelineisspokenalmostentirelyinHindi,
butthewordsexyispointedlyinEnglish.Thiscovertlydenotestheconceptofsexinessassomething
foreigntothecultureofthecharacters.

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great.ShedeliberatelypushesasidetheformalitythatRobbiesgiftofflowers
symbolizesandpurposefullyaccentuateshersexualinterestinhim.

InDevdas,attentionbeingdrawntothesexualityofspecificcharactersisunavoidable,
andthecharactersspeakwithsurprisingfreedomaboutthesexualactivitiesofothers.
Thereis,ofcourse,noexplicitreferencetothesexact,butthesubjectcannotbeeasily
mistaken.ThecharacterwhosesexualityismostopenlydiscussedisParo.Assumptions
abouthersexualconduct,thoughentirelychaste,arevoicedmanytimes.Thefirst
instanceofthisisafterParosneakstoDevdassroominordertoaskhimifheintendsto
marryher.Devdassfather(TikuTalsania)discoversherandproceedstotellParothat
sheandhermothershouldgotoabrothel.

Paroreturnshomedejected,andSumitrabringsupsexualconductagain,saying
toher,Iwouldnothaveminded,evenifyouwereawhoreforanight.Shemakesthis
commentwiththenotethatParooughttohaveaskedpermissiontogoandcouldvery
wellhavedisgracedthefamilywithsuchaction.Paroherselfexpressesheropinionofher
sexualitylater,longaftershehasmarried.ShespeakswithDevdasabouthisconcernsof
maligningherbymeetingheralone,saying,Hadwegivenourselvesabadname,we
mightveendeduptogether.Thoughshespeakswithpoiseandcarefulchoiceofwords,
sheclearlyinsinuatesasexualaspectoftheirrelationshiptogether,hintingthatsuch
inadvisableandunchasteactionmighthavemadethetwoofthemhappy.

AnotherunavoidablesourceofsexualityinDevdasisChandramukhi.Her
presenceaddsanewandglaringformofsexualcontent.Asacourtesan,heroccupation
alonemakessexualityanintegralaspectofnotonlyhercharacter,butalsoany
interactionshehaswithothercharacters.HerlongrelationshipwithDevdas,though
devoidofanytouching,demonstratesextremelysexualovertones.Inonescene,
ChandramukhiandDevdasdiscussthefactthatDevdasdoesnotallowChandramukhito
touchhim.Hesaysthatshemustnot,becauseheislikeafilledcup,andthereceptionof
anymorelovewouldcausehimtooverflowandChandramukhitofalltotheground
withthespilling.DevdasmeansthatChandramukhisloveforhimwouldleadhertoruin.
Chandramukhiswitchestheconnotationofhisobservation,replyingthat,inthe
spilling,thewinemustvebeencaressedbythechalice.Thiscommentmakesit
blatantlyclearthatsheisindeedphysicallydesirousofhimandseeksmorethana
platonicrelationship.

However,themostdirectandforcefuldiscussionofsexualityinDevdasdoesnot
pertaintoParosorChandramukhisconduct.Paro,afterbefriendingChandramukhi,
bringsthecourtesantoherhomeforafestival,hidingtheknowledgeofChandramukhis
occupationfromherfamily.However,Parossoninlaw,Kali,unbeknownsttoParo,isa
patronofChandramukhisandoutsher.Heproclaimsthathisrevelationtoeveryoneis
strippingwithoutstripping,asuggestivelineliterallymeaningthathehasrevealedthe
humiliatingtruthofChandramukhisbackground.However,Chandramukhireversesthe
situation,openlycondemningKalissexualconduct,speakingspecificallyabouthisvisits
toherabode.Angeredbytheprejudiceagainstherduetohertradeandthelackof

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chastisementforthemenwhopurchasehercompanyandthatofwomenlikeher,she
describesthehomesofcourtesans,notingthattheverydensarelitteredwithtrophiesof
thelustof[Kalis]forefathers.Thisoneoftheveryfewinstancesinwhichaterm
directlyconnectedtosex,suchaslust,isutteredinthefilm.

Fromplotintegratedcircumstancestothedialogueoffilmcharacters,sexuality
doescrossintotherealworldofthecharacterswithinBollywoodsmovies.Whilethe
filmanddancesequencesdisplaythenearestphysicalequivalentstotheactofsexthat
filmmakerscangetpastthecensorsandonecouldarguethatthosescenesaremore
arousingthanthemostwellshotsexscenesthecharactersnevertrulyignoretheir
sexuality.Charactersdiscusssexandrelatetooneanothersociallybasedonpreconceived
notionsofthesexualactivityofothers,andtheconceptsofhonorattachedtothose
actions.

Conclusion

ThefilmsofBollywoodarewidelyknownforthelackofkissingandsexscenes,
butitisquiteclearthatBollywoodsfilmsarepackedfrombeginningtoendwith
sexuality,averyrealsexualitydespitetheoftenfantasticalmeansbywhichitis
conveyed.Thosesensualaspectsconveyedareenhancedbyanticipationandimagination,
somethingthatwesternfilmscouldlearnathingortwoabout.Thesexualityin
Bollywoodsfilms,veiledandrestricted,isinsomewaysfarmoreeroticthanthe
sexualityinwesternfilms.Thislackofkissingandsexscenesmaybeareflectionof
Indianculture,butitismoreimportanttonotethatthesexualitypresentinBollywood
precludesanyamountoftrueprudishness.Thereisnothingsqueakycleanaboutthefilms
ofBollywoodthesexualityjustcomesinapackageunfamiliartomostwestern
audiences.

WhilesexualityaboundsinBollywoodsmovies,asitdoesinthoseofmostany
culture,itisimportanttoquestionwhythelackofsexscenesandkissingautomatically
equalschastityinwesternminds.Theunderstandingandinterpretationofsuch
misleadingfactscantellusagreatdealaboutthedifferingviewsontheexpressionof
sexualityfromculturetoculture,becausefilmultimatelyreflectsthesocietythatcreates
it.Undoubtedlytheuseofinnuendooversexscenesspeaksvolumesabouttheplaceof
sexualityinIndiansociety,buttheopposingpreferenceofHollywoodisjustasrevealing.
Perhapsthemostimportantlessonwecanlearnisaboutourselves.Insteadofaskingwhy
Bollywoodhassolittlekissing,perhapsweshouldaskwhyHollywoodsfilmshaveso
manysexscenes.

DespitethetraditionsofBollywoodanditslackofkissing,thefactremainsthat
thereisnolawprohibitingtheuseofkissinginfilm.AsBollywoodsfilmsslowlyfollow
thetrendofwesternfilmindustries,itwillbeworthwatchingtoseehowtheuseof
kissingandsexscenesevolves.WillBollywoodloseitsmassappeal?HowwillIndian
censorshipbeaffected?Thebiggerpictureis,ofcourse,whatdoesthismeanforIndian
societysperceptionofpublicdisplaysofsexuality?

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IfBollywoodgoestherouteofHollywood,itseemsinevitablethatitwilllosethe
powerfullyuniquesexualityitexhibitsnow.ThemostsensualaspectsofBollywoods
filmshavearisenfromthecensorshipinplace,andifthatcensorshipisovercome,itis
unlikelythatsuchimaginativeandsuggestivesexualitywillvanishcompletely.However,
thedangeroftheappealofsexscenesimmediateimpactovertakingtheslowand
affectingsexualityofBollywoodsdancesequencesseemsveryreal.Itisdoubtfulthat
dancesceneswouldeverdisappearfromBollywoodsfilms,butthesexualitycontained
thereinwouldnolongerservethesamepurpose.

Thequestionoftheinjusticeofacensorshipcodeisnotthetrueissuein
concerningsexualityinBollywoodscommercialcinema.Overall,theinclusionof
kissingandsexsceneswillnotnecessarilymakeBollywoodmoreliberated.Intruth,the
abilitytofreelyplacekissingandsexscenesintoafilmdoesnotequalartistryatitsbest.
Massappealisstillanimportantconsiderationaswell.PerhapsBollywoodsworldwide
appealhassomethingtodowithhumankindyearningformoreanticipationandless
instantgratification.Fromthelengthofitsfilmstotheabsenceofsexscenes,Bollywood
justhasmorepatiencethanwesternfilmindustries.EvenasBollywoodchanges,it
continuestomoveatasnailspace.

Beyondtheworldoffilm,therestillliesthefactthatsocietyisreflectedthrough
itsmovies.AsIndiansocietychanges,Bollywoodisslowlyevolving,inmuchthesame
mannerasmanyotherfilmindustriesbeforeit.Themostimportantlessonswecanlearn,
then,areindeedaboutourownsocieties.Theshiftinviewsofsexualityasapublicly
displayablepartoflifeinthewesternworldhasmetagreatdealofresistanceinIndia.
InsteadofaskingwhatistakingIndiasolongtocatchup,wecouldstopforamoment
andthinkaboutthehorriblehurrywearein.Theinclusionofsexandkissingwithinfilm,
orthelackthereof,isnotaboutcensorship,itisaboutculturaldifferencesinthe
interpretationofsexuality.