Women Characters in Sanjay Leela Bhansali’s Cinema:

Sanjay Leela Bhansali is one of the most famous directors of Indian cinema. He is the director, producer,
screenwriter and music director of several films that are highly regarded by audiences around the world.
His directorial career began with the film Hamoshi: The Musical (1996). Since then, he has created a
number of highly successful films such as Hum Dil De Chuke Sanam (1999), Devdas (2002), Black
(2005), and the long list continues to Padmaavat (2018). has a special place in the hearts of the public for
its passionate portrayal of characters, accompanied by a unique production, music and choreography that
personify different aspects of art and culture, conveying aesthetic meaning and satisfaction of viewing on
the screen (Bandyopadhyay, 2020).
Bhansali introduces strong female characters in her films and uses films to showcase the extraordinary
power and exceptional talent of the actresses.Whether it's Manisha Koirala, Madhuri Dixit, Aishwarya
Rai Bachchan or Deepika Padukone, director Sanjay Leela Bhansali uses each female lead in his films to
convey a lot about his views on pure women. Chaste and chaste, manipulative, flirtatious, regardless of
their position and multiple mistakes exist, and given his role, Sanjay often uses patriarchy to dominate
minor women, fighting chaos and facing discrimination, his female characters win and turn into brave and
unusual women (Pal, 2013).
In an industry where most directors rely on mindless scripts to generate huge profits and use heroines for
supporting roles, Sanjay shapes his actresses to inspire everyone who comes to see his films. Musical
”features Manish Koirala as the daughter of Nana Patekar and Sima Biswas, a deaf-mute couple. Aware
of her parents' disabilities, Annie, also known as Manisha, who understands the need to be independent in
life, is never portrayed as weak or frail (Pal, 2013).
. For many, "Hum Dil Chuke Sanam" sounds tearful and a little long.But it is the performances of the two
main actors (Salman Khan, Ajay Devgan) and the main character (Aishwarya Rai) that make this musical
so enjoyable to watch. Although there are two male stars in the film, Nandini, also known as Aishwarya
Rai, continues to grab everyone's attention. Viewers appreciate her for her playful and sincere nature.
Nandini, who lost her temper, played a noisy game and believed in her husband's chosen ideology, never
considered herself vulnerable. SLB highlights its strengths in film.Aishwarya's role in Devdas is also
recognized through the character of Paro.

The role of Chandramukha (played by Madhuri) is not only about flying clothes and flawless dance
moves. Knowing that she can never replace Paro, Chandramukhi, a selfless servant, still loves Devdas
even when she is still a woman. SLB used "Black" to portray Rani as a deaf person in a respectable and
powerful way. The influence of her role as Rani, which she won several awards for fighting handicap to
be a woman from the Director, also helped Aishwarya Rai lose the claim to one of the most impressive
performances in the series. Years in 'Guzaarish' (Pal, 2013). Bhansali's
film Ram Leela portrays female characters in two different ways, such as those who enjoy great power,
independence and strength, and those who are controllable and submissive.Supriya Pathak is not only an
evil mother, but in the film she also plays a cunning and insidious leader of a mafia gang, but it is Leela
who dominates others both intellectually and sexually. His heart is up his sleeve. She is not only devoted
to Ram, but she is also willing to risk everything in order to devote her life to him. Her attractive and
wonderful role in the film makes her the strongest female character.Actors Rich Chadda and Barka Bisht
Sengupta also play oppressed women who understand the need to muster the courage to face the age-old
feud between the Sanedo and Rajri communities (Pal, 2013).
The female characters in his films are not only strong, independent and in control of their lives, but they
also walk alongside their male counterparts, agreeing at every turn, if not more. main male characters.
Her work demonstrates fairness and direct justice to feminism, leaving many people unaware of the
difference between feminism and feminism.
In every story presented on celluloid, female characters are strong and are seen as the burden of the film,
if not entirely, but 60–70% (Mohanta, 2019)
Or
The role of Chandramukhi (played by Madhuri) wasn't all about flattering ensembles and flawless dance
moves. Although she knows she can never replace Paro, Chandramukhi, the selfless courtesan loves
Devdas, even if she is still a woman. SLB used 'Black' to portray Rani's character of a deaf-blind person
in a respectable and powerful way. Such was the influence of Rani's role that she won multiple awards for
fighting physical disabilities and emerged as a woman from The Director. . The
Bhansali film 'Ram Leela' shows female characters in two different ways: those who enjoy a great deal of
power, are independent and strong, but also those who are easy to control and submissive.Supriya Pathak
is not only the cruel mother, but also plays a cunning and manipulative mafia gang leader in the film, but
it is Leela who dominates her fellow human beings both intellectually and sexually. His heart on his
sleeve. Not only is she fervently devoted to Ram, she is willing to risk anything to spend her life with
him. Her compelling and admirable role in the film makes her the most powerful female character.Actors
Richa Chadda and Barkha Bisht Sengupta also play downtrodden women who understand the importance
of gathering courage to face the longstanding hostility between the Sanedo and Rajri communities (Pal,
2013).
The female characters in his films are not only strong, independent and lead their own lives, but also go
with their male counterparts and go with every step, if not more. male protagonist. Her work does justice
to feminism and directly, so that many fail to understand the difference between feminism and feminism.
In any story presented on celluloid, the female characters are strong and bear the burden of the film, if not
completely, but 6070% (Mohanta, 2019).

1.4 Leading Female Characters in Sanjay Leela Bhansali Movies:

It is very evident that in each of the films directed by Sanjay Leela Bhansali women know how to fight
for their rights even if they are not equipped, all these women in Sanjay Leela Bhansali films are
ambitious, they know what they want life and follow their hearts.
1. KASHIBAI (BAJIRAO MASTANI):
Priyanka Chopra once said in an interview that Kashibai was one of the most heartbreaking characters she
has ever had to play; It is made up of the best parts a human can be made of.Kind hearted, innocent,
childish but intelligent, compassionate and proud, Kashi is an amazing character to see on screen.
2. PARO (DEVDAS):
Paro taught a whole generation of women not to take shit from men. Yes, she loves Devdas and will only
ever love him, but she knows she deserves better. She tells him he can. '' He comes running up on her
wedding day and confesses his love to her as if everything was suddenly all right. Paro is also pretty
open-minded.His friendship with Chandramukhi is one of the purest.
3. CHANDRAMUKHI (DEVDAS):
The sensual seductress who easily sheds Shayaris and Ghazal's The woman judged by her profession, her
profession, her place of residence, whose beauty is charming but not the only thing that defines her,
whose nobility they That makes a class of their own.
4.DHANKOR BAA (RAM LEELA):
Dhankor Baa is the patriarchal matriarch who rules her side of the city with one finger. His son, daughter-
in-law, naukars and workers are very afraid of him.They all are, except for Leela, which is what makes
this mother-daughter relationship so fascinating. However, Dhankor Baa is practically the reincarnation
of Maa Kaali and we love her because we fear her.
5.MICHELLE MCNAHAI (BLACK):
Michelle is an incredible character who is both sore and empowered in equal measure. SLB made them so
that we should never pity them.Instead, we have to learn from it. We need to learn to overcome obstacles
and see the value of good teachers in our lives. We have to learn from Michelle how to share the
knowledge we have gained, become independent and take care of others. People who understand that
everyone's life is tough. Michelle is one of the most complex, real, and intelligent female characters in
Bollywood (Subramanian, 2020).

Or
It is clear that in every film directed by Sanjay Leela Bhansali, women always know how to fight for their
rights, even when they are not equipped. All these women in Sanjay Leela Bhansali have ambitions, they
know what they want. life and follow their hearts.
1.KASIBAI (BAJIRAO MASTANI):
Priyanka Chopra once said in an interview that Kashibai is one of the most heartbreaking characters she
has ever played; it is made of the best parts that a person can be made of.Kind, innocent, childish yet
intelligent, compassionate and proud, Kashi is a wonderful character to watch on screen.
2. PARO (DEVDAS):
Paro taught a generation of women not to accept bad things from men. Yes, she loves Devdas and will
always love only him, but she knows that she deserves more. She told him that he could. “Paro is also
quite impartial.His friendship with Chandramukhi is one of the purest.
3. CHANDRAMUHI (DEVDAS):
A sexy sexy woman who easily spills shayaris and gazelles. work in another class.
4. DHANKOR BAA (RAM LILA):
Dhankor Baa is a patriarchal matriarch who rules his city with one finger. His son, daughter-in-law,
husband and wife of a worker feared him very much.Everything is the same, except for Leela, who makes
the mother-daughter relationship so irresistible. However, Dhankor Baa actually reincarnated as Maa
Kaali, and we love her because we are afraid of her.
5. MICHELE MACNAHY (BLACK):
Michelle is an amazing, popular and equally powerful figure. SLB made her this way, so we should never
feel sorry for her.Instead, we must learn from our own experience. We must learn to overcome obstacles
and recognize the value of good teachers in our lives. We must learn from Michelle how to share what we
have learned, how to become self-sufficient and take care of others. people, understand that everyone's
life is difficult. Michelle is one of the most complex, real and skillfully designed female Bollywood
characters (Subramanian, 2020).
Theoretical background:
This study analyzes the content of alternative films with a focus on women and viewers 'attitudes towards
these types of films, and identifies the gap between the expression of directors' opinions. Therefore, these
concepts must first be placed in a theoretical framework. The main purpose of this section is to provide a
theoretical basis for studying the topic. The main theories that will be used here will be various feminist
theories, perspective approach, critical approach. theory, theory of globalization and hybridization, and
popular culture, especially the theory of upper and middle eyebrow culture.
According to feminist scholars, women are seen as objects in the mainstream media, especially in the
commercial film industry.However, they mention that efforts are being made to expand the role of women
beyond stereotypes that existed many years ago (Brewer and Chand 2009). Feminist scholars have coined
a term called “the male gaze,” defined as the way the camera portrays women on the screen as sexual
objects (King 2007). This idea of a "masculine image" was explained in detail by Laura Mulvey in Visual
Pleasure and Narrative Cinema, published in 1975. And a role more suitable for a male audience in
traditional comedy (Mulvey 1975) (Sarka, 2012).
3.Research methods:
The work is a comprehensive theoretical study based on facts and chronicles available in various literary
forms and electronic media, such as: books, magazines, dissertations, documentaries, films and Internet
sites provide an amazing set of essentials. for research in the relevant field and on the chosen topic.To
provide a scientific element in research, scientists start from the point of researching several selected
relevant assessments on a topic, and then closely follow the consequences and stages of research in the
field of science. In social research, secondary data collected from various Las Sources have been
classified and interpreted. Throughout the work, the main focus is on the historical interpretation of the
question chosen for this purpose.

Dialogues of ‘Padmaavat’:

“Chittor Ke Angan Me Ek Or Ladai Hoge Jona Kabhe Kisi Ne Daikhe Na Sune Hoge … Or Wo Ladai
Hum Shatraniya Ladainge… Or Yaihe Alauddin Ke Sub Se Bade Haar Ho Ge” One of the maximum
interesting scenes in Padmaavat is wherein her person, the queen of Mewar greets all of the girls in her
country and convinces them to conflict in opposition to Khilji and his force. Deepika's communicate
transport on this scene became spot on. “Rajputi kangan mein utni hello taqat hai jitni Rajputi talwar
mein.” When padmavati has the same opinion to satisfy 'Allaudin Khilji', that is whilst she says this
dialogues. The dialogues indicates the electricity of the long-lasting person performed with the aid of
using her, that of a fierce and righteous queen. “Jab Rajput apne mitti aur maan ke liye ladta hai ... toh
uski talwar ki goonj sadiyon tak rehti hai” A hard-hitting communicate with the aid of using Padmavaat,
which continues to be afresh in people's memories. Dialogue is written withinside the delight of 'Rajput
empire and kings' and their cappotential to combat in opposition to the awful at the floor conflict. “Asuro
ka vinaash karne devi ko bhi gadh se utarna pada tha” When Shahid Kapoor's first spouse conspires in
opposition to 'Rani Padmaavati', whilst padmavati comes to a decision to satisfy the Sultan of Delhi.
During the conversation, Deepika Padukone stated those traces to Shahid's first spouse and indicates her
devotion toward her country withinside the scene. By agreeing to satisfy an evil king, who needs to
witness a person else's spouse's beauty. “Jeevan ka varnan Teen Shubdo Me?… Amrit, Prem Or Tyaag.
Prem Kya Hai?… Ishwar Ke Aankh Me Ubhra Huwa Khushi Ka Aanoo. Aansoo Kya Hai?… Sukh Or
Dukh Ke Ahat. Sukh Kya Hai?… Bharum. Runbhoobhi Me Sub Se Bada Shashtra Kya Hai?…Himmat.
Jeevan Me Sub Se Kathin Ghadi?… Pariksha Ke Baad Parinaam Ke. Or Sub Se Badi Bhaint?…
Ashirwaad.” This Conversation among raghav Chetan and padmavati indicates her intelligence
approximately politics strugglefare techniques and her excessive morality.

4. Story of ‘Padmavat’ Movie:

The story of Padmaavat takes place in the reign of Maharawal Ratan Singh from Chittorgarh, today's
province of Chittor, in the state of Rajasthan. The plot of the film revolves around the time when
Allauddin Khilji had conquered several kingdoms in northern India and was planning to attack the
kingdom of Chittor. The story is based on the love and devotion of the beautiful and revered Queen Rani
Padmavati (Deepika Padukone, the female lead) towards her husband Maharawal Ratan. Singh (Shahid
Kapoor, the male lead) and the passionate intentions of AllauddinKhilji (Ranveer Singh, the antagonist)
towards Rani Padmavati that eventually end the film in battle and Jauhar (Bandyopadhyay, 2020).

Female character:
There are three important female character in film ‘Padmavat’ that are Padmavati, Mehrunissa
and Nagmati.

1.Padmavati:
She seems to be the very definition of intense. Archer and soldier, independent thinker and moral
philosopher, selfless queen and, above all, deeply beloved woman Rani Padmavati. The meaning of the
word. His duties and responsibilities to his people are above all. Her primary task as a wife and leader of
the people.The film focuses not only on her beauty, but also on her diplomatic knowledge, and she is also
an expert in archery. She lives alone in a cave. He is an independent, intelligent, and empathetic person.
He met Ratan Singh while hunting a deer. Ratan Singh loves her beauty and marries her.In the film, she
plays an important role in decision-making. First, when her father's people came to visit King Ratan
Singh, she said that he would stay in the cave. Then he decided to expel the Brahmin Raghav Chetan. She
plays an important role in the marriage proposal to Khilji.She decided to show Alauddin Khilji her face
with a mirror, although Ratan Singh did not like it. At that moment, she decided to leave. in Delhi. But
she put forward some conditions. One of the conditions was to behead Raghav Chetan.Alauddin chopped
off his head without thinking twice. In this scene, he makes a diplomatic decision. He went to Delhi and
returned to Ratan Singh without revealing his face to Alauddin Khilji. Finally, the decision is conveyed to
Jauhar “Jauhar, sometimes written as Jowhar or Juhar, is a Hindu custom in which women commit mass
self-immolation in parts of the Indian subcontinent to avoid foreign invasion, takeover, enslavement and
rape when faced with a definite defeat in the country ... war. It is shown in the film that she is also known
for her beauty. diplomatic awareness and knowledge. In the movie she played important role as a decision
maker (Nahar,2020).

2. Mehrunissa:
Queen Mehrunissa, wife of Alauddin Khilji, is the second main character in the film. From the very first
shot, Mehrunissa found a place for herself with her childlike innocence. As the series progresses,
Mehrunissa's character grows with a wonderful combination of vulnerability and ingenuity. In one scene,
Mehrunissa tells Rani Padmavati that she is helping her save her beloved Alauddin Khilji from
committing a crime, and in another she looks Khilji in the eyes with the greatest courage and acceptance.
Admit that she did what she did. save. he.Although she wants him to have everything in the world that
brings him happiness, he can never have or possess Padmavati (Kameshvari, 2018).

3. Nagmati:
The third character is Nagmati, the first wife and main queen of Ratan Singh. She is a stubborn,
stereotypical and jealous wife. Nagmati and Padmavati perform jauhar together after Alauddin Khilji
attacks Chittor. The capture of Jauhar shows the strong character of Nagmata. with devotion to her
husband and country.

7. Visualization of Strong Women Characters:

At the end of the film, after Maharaja Ratan Singh was killed and Khilji's army began to march towards
the kingdom, Queen Padmavati made a passionate speech to all the Rajput women in the kingdom. He
sternly said that even though the war was lost, there was one more final trophy to bring back the bodies of
the women of the kingdom. No woman was saved from being raped by the invaders. Queen Padmavati
explains that all Rajput women, including herself, must fight Jauhar in one of the most shocking lines in
the entire film; "The invaders entering the kingdom and hungry for our nine bodies will not even touch
our shadow."
The scene after that is extremely emotional and cinematic.Queen Padmavati blesses all the women and
then leaves some of them to stop Khilji desperate to enter the kingdom. After preparing the fire, the
woman shouted, "Jai Bhavani!" while Queen Padmavati leads all women, young men, old women and
even pregnant women to the fire. Jauhar is practiced by high caste Hindu women who, in the face of
outside attack, set themselves on fire to avoid being attacked. Through the Jauhar, the Rajputs “will retain
their cultural pride and honor” (Pariana, 2016). In Padmavaat, only women are present on the Jauhar
stage, which gives the impression that mass sacrifices are a choice made exclusively by women to protect
their individual and collective honor.
However, the historical documents of Jauhar explain that the practice was usually performed at night in
the presence of Brahmin priests.While the priests chanted Vedic mantras, women who wore wedding
dresses and hugged their children were burned alive.
The next morning, Jauhar, another ritual called Saka will take place. For this ritual, men will bathe and
dress in saffron-colored clothing before applying Jauhar's ritual ash to their foreheads and taking a tulasi
leaf in their mouths.
. Following in the footsteps of Saki, people “will go out to destroy their enemies or will be destroyed by
them” (Ancient Origins, 2015).
In presenting a climactic and highly aesthetic scene from Jauhar, Bhansali appropriated and romanticized
the cruel and tragic ritual practice for his own creative purposes. The end result is devastating and
regressive because the solely focused footage of honor minimizes the harsh reality of hundreds of people.
Women and children were burned alive. A positive description of the act makes it clear that if a woman's
honor is threatened, it is better to die than to be defiled. There is a message of thanks to Queen Padmavati
for her brave sacrifice.The text says that Jauhar Padmavati was both the greatest defeat in the life of
Alauddin Khilji and the greatest triumph of Chittor. Rather than portraying Jauhar as a great and brutal
tragedy, Bhansali chooses to honor this old-fashioned and terrible tradition (Wnuck, 2018).