didacticism in popular bollywood films: a study on rajkumar hirani's
TRANSCRIPT
DIDACTICISM IN POPULAR BOLLYWOOD FILMS: A STUDY
ON RAJKUMAR HIRANI'S DIRECTORIAL FILMS
SHREYA N
Registered No: 1424048
A dissertation
submitted in partial fulfillment of the
requirements for the degree of
Master of Arts in Media and Communication Studies
CHRIST UNIVERSITY
Bengaluru
2016
Program Authorized to Offer Degree:
Department of Media Studies
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CHRIST UNIVERSITY
Department of Media Studies
This is to certify that I have examined this copy of a master’s thesis by
Shreya N
Registered Number : 1424048
and have found that it is complete and satisfactory in all respects,
and that any and all revisions required by the final
examining committee have been made.
Committee Members:
_____________________________________________________
[NARESH RAO]
_____________________________________________________
Date:__________________________________
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I, Shreya N, confirm that this dissertation and the work presented in it are my
own achievement.
1. Where I have consulted the published work of others this is always clearly
attributed.
2. Where I have quoted from the work of others the source is always given. With
the exception of such quotations this dissertation is entirely my own work.
3. I have acknowledged all main sources of help.
4. If my research follows on from previous work or is part of a larger collaborative
research project I have made clear exactly what was done by others and what I
have contributed myself.
5. I am aware and accept the penalties associated with plagiarism.
Date:
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CHRIST UNIVERSITY
ABSTRACT
Didacticism In Popular Bollywood Films: A Study on Rajkumar Hirani's Directorial
Films
Shreya N
The dissertation titled “Didacticism in Popular Bollywood Films: A Study on Rajkumar
Hirani's Directorial Films,” speaks about the representation of didactic elements in popular
Bollywood films. Didacticism is a philosophy that has been employed in various artistic
endeavours from time before the Ancient Greeks. This philosophy believes that any piece of
literature or art are meant to both entertain and educate. Popular cinema is also an artistic
medium and has the ability to attract a number of people. Popular Bollywood Cinema helps us
to understand a lot about the culture and lifestyle of the people. Though the characters are highly
exaggerated in popular cinema it almost serves as the mirror to the society. Popular cinema in
the recent times has influenced many people’s lives and these instances are seen to be reported
in many newspapers, magazines etc. For the study of the didactic elements four directional
films of Rajkumar Hirani namely, Munna Bhai M.B.B.S, Lage Raho Munna Bhai, 3 Idiots and
PK have been chosen Through the study the researcher examines how didactic elements are
presented to film viewers and shows the importance to understand, explore and analyse the
didactic elements in popular and commercially successful directorial films of Rajkumar Hirani.
Keywords: didacticism, Bollywood, popular cinema, Rajkumar Hirani.
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ACKNOWLEDGEMENTS
My sincere gratitude to my Guide, Prof. Naresh Rao and Fr. Biju K. Chacko –
course co-ordinator, for their constant guidance encouragement and support.
I wish to extend my heartfelt thanks to the staff of the Department of Media
Studies and Dr. Arya Aiyappan for their valuable feedback and assistance in bringing
out this research.
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DEDICATION
To my parents
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TABLE OF CONTENTS
List of Figures ............................................................................................................ xiv
List of Tables ............................................................................................................. xvi
Chapter 1 Introduction................................................................................................ 1
1.1 Background to the study ................................................................................. 1
1.2 Statement of the research ................................................................................ 9
1.3 Purpose and the significance of the study ..................................................... 10
1.4 Research design ............................................................................................ 10
1.5 Research question ......................................................................................... 10
1.6 Limitations of the study ................................................................................ 10
1.7 Scope for further research ............................................................................. 10
1.8 Objectives of the study.................................................................................. 11
Chapter 2 Review of Literature ................................................................................ 12
Chapter 3 Methodology ............................................................................................. 27
3.1 Definition of research ..................................................................................... 27
3.2 Research philosophy ....................................................................................... 28
3.3 Types of research methods ............................................................................. 28
3.4 Research methods used in this research ......................................................... 29
Chapter 4 Data Analysis ............................................................................................ 34
4.1 Summary of the films ..................................................................................... 34
4.2. Analysis of the films ...................................................................................... 45
4.3 Comparative analysis ..................................................................................... 73
Chapter 5 Findings & Conclusions .......................................................................... 76
5.1 Summary of the results ................................................................................... 76
5.2 Discussion of the results ................................................................................. 76
5.3 Limitations of the study .................................................................................. 80
5.4 Suggestions for further research ..................................................................... 80
Bibliography ............................................................................................................... 81
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LIST OF FIGURES
Figure Number Page
Figure 1 Munna Bhai film poster ............................................................................................. 34
Figure 2 Lage Raho Munna Bhai film poster .......................................................................... 37
Figure 3 3 Idiots film poster ..................................................................................................... 39
Figure 4 PK film poster ............................................................................................................ 43
Figure 5 Jadoo ki jhappi ........................................................................................................... 47
Figure 6 Munna and Circuit playing carom in an attempt to encourage the old man to live and
attract his attention towards playing ........................................................................... 47
Figure 7 Munna using his unconventional methods for encouraging a boy to quit the idea of
committing suicide repeatedly .................................................................................... 48
Figure 8 Munna gets agitated by the inhumane way of treating Anand .................................. 49
Figure 9 Munna Conversing with Anand Bhai as if he was a normal person .......................... 50
Figure 10 Munna circling around Anand Bhai in the garden ................................................... 50
Figure 11 The first time Munna encounters with the apparition of Mahatma Gandhi ............. 52
Figure 12 Munna hosting a radio show with Bapu .................................................................. 53
Figure 13 Munna Bhai and the old people staging satyagraha protest in front of Lucky Signh’s
House .......................................................................................................................... 54
Figure 14 Munna & Bapu at the Second Innings House to give a guest lecture on Gandhi .... 55
Figure 15 A young man calling out to a waiter at restaurant by saying choochoo .................. 56
Figure 16 A man with a smile on his face cleans the spit of his neighbour on his door .......... 57
Figure 17 An old man giving away all his belongings to the officer to get his pension file
passed .......................................................................................................................... 58
Figure 18 Virus giving an example for "life is a rat race" and people have to work hard ....... 60
Figure 19 Farhan and Raju's households.................................................................................. 61
Figure 20 Rancho changes a few words in Chatur's speech which makes the speech
derogatory and alters the meaning of it ....................................................................... 62
Figure 21 Virus screaming at Chatur for his derogatory speech .............................................. 62
Figure 22 Lobo giving up his life due to pressure and fear of failure ...................................... 63
Figure 23 Farhan's parents deciding what he would take up as his profession once he grows
up ................................................................................................................................ 64
Figure 24 PK wearing both men and women attire not knowing the difference ..................... 66
Figure 25 PK running away from the Sikhs ............................................................................. 67
Figure 26 PK escaping by being beaten up by Hindu holy people .......................................... 67
Figure 27 PK escaping thrashings from Muslim women ......................................................... 68
Figure 28 PK running away from Christian priests ................................................................. 68
Figure 29 A photograph of Tapasviji on Jaggu's blanket ......................................................... 69
Figure 30 A screenshot of Tapasviji's picture on a mug .......................................................... 70
Figure 31 Jaggu's Father praying to Lord Hanuman while on the treadmill ............................ 70
Figure 32 Screenshot of e-darshan that Tapasviji offers for his devotees for a price .............. 71
Figure 33 Screenshot of Tapasviji's website offering different types of prashad based on the
devotee's preference .................................................................................................... 71
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Figure 34: PK demonstrating to Jaggu;s father that running a temple involves minimum
investment and guaranteed huge profits ..................................................................... 72
Figure 35 An instance of 'wrong number' being reported on TV by various people ............... 73
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LIST OF TABLES
Table Number Page
Table 1 List of films, the language of the film and the themes portrayed in the film . 20
Table 2 The film name, year of release, thematic patterns and issues depicted in the
film ................................................................................................................... 45
Table 3 Languages used in the films and the catchphrases ......................................... 46
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Chapter 1
INTRODUCTION
1.1 Background to the study
1.1.1 Role of cinema in the society
Role of cinema is neither permanent nor easily concrete and quantifiable. The
role is directly related to the question of how the filmmakers and the audience approach
films and are convinced enough to view films as social developmental tool. The role of
cinema could either be significant or, on the contrary not so significant depending upon
various factors of filmmaking and film viewing.
Films offer a platform where social issues can be projected and discuss. Films
entertain, inform and educate the crowd in a subtle manner and targets on the emotional
appeal of the viewer. Hence it is essential to address how certain ideas can be facilitated
through the medium of films.
Cinema, what we see today has evolved so much that it looks very different
from what it was in its initial stages. The purpose of films from merely being a mass
entertaining medium has transformed to be societal reflectors and vehicles of social
change.
1.1.2 World cinema
There is no exact date recorded in history when films evolved. The reason for
this is that many indigenous devices like magic lanterns, kaleidoscope, praxiscope were
used from a long period of time which served the purpose of projecting moving images
on a blank screen. Through these forms of moving images are very primitive in nature
the basic principle involved is the same.
During 1880s lengths of celluloid films were introduced and this subsequently
led to the invention of motion picture cameras which enabled long durations of
recording to take place. Films till the 1890s were not more than a minute long mostly
due to technological limitations. With this technological development film studios were
being set up and led to the establishment of the film entertainment industry.
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It was in the year 1927 motions pictures with sound was produced. The first
film with sound was The Jazz Singer. With this began the Golden Age of Hollywood
cinema. This period lasted till the 1940s.
World War II had a significant impact on the film industry. The film techniques,
the plot and themes all of became drastically different during this time. Cinema during
and in aftermath of the war were mainly propaganda and created a renaissance in many
film industries across the globe. The films were more realistic, highly influential and
patriotic.
1990s saw the development of commercially successful cinema and the
creation of independent production companies.
1.1.3 Indian cinema
Indian film industry has its humble beginnings from the screening of silent films
which were shipped from the West during the British era. During this time, the films
which were being imported from the West and screened in India were primarily catering
to the British and the upper middle class of the society.
With Dadsaheb Phalke producing his first feature film Raja Harischandra,
Indian film industry took its shape. Films made by Phalke were predominantly based
on Indian mythology and great kings of the past. These plots he believed would attract
the Indian audience and resonate well too. Raja Harishcandra created a benchmark in
the history of film in India. This film was a commercial success and paved way for
more such films to be produced.
Theatres were being set up in many parts of India and films screening was done
on a larger scale than usual.
Post - Independence i.e. the period from 1940s till 1960s is considered to be the
‘Golden Age’ of Indian cinema. Landmark films were produced during this time. This
period saw the emergence of a genre of cinema which is the ‘Parallel Cinema.’ Neecha
Nagar, Nagarik, Do Bhiga Zameen laid the foundations for the ‘Indian New Wave
Cinema.’ This period also saw the rise of commercial Hindi cinema. Classic films like
Pyaasa, Kaagaz Ke Phool, Awara, Shree 420 were produced during this period.
During late 20th century cinema gained popularity as a collective mass
entertainment medium. Tickets were priced economically and majority of the
population were able to afford to watch films. This was also the period when Indian
films also got recognition overseas.
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Modern Indian cinema has a heavy influence from the films of the Golden Age.
Modern Indian Cinema is technologically advanced with brilliant graphics and the use
of varied production and post- production techniques. There is an increase in
mainstream commercial films but parallel and documentary films too are also on the
rise.
Films made in India, whichever region of the country they originate from, are
influenced by six major themes:
The ancient epics
Sanskrit drama
Traditional folk theatre
Parsi theatre
Hollywood Western musical television (Wikipedia, 2015).
1.1.4 Regional Indian cinema
Language has played a major role in India. The division of states in India after
gaining Independence was on the basis of the language spoken. Likewise, there is no
one particular industry which can be called ‘The Indian Film Industry’ per se; like in
the case Hollywood (the Film Industry of USA.) Multiple film industries across the
nation collectively form the ‘Indian Film Industry.’
In India, film industries are based on the language spoken in the region where
the industry it originates from. For instance, in South India the 4 prominent film
industries are:
Tamil film industry – Tollywood (Tamil Nadu)
Telugu film industry – Kollywood ( Andhra Pradesh / Telangana)
Malayalam film industry – Mollywood (Kerala)
Kannada film industry – Sandalwood (Karnataka)
There are many more film industries in India based on the linguistic distinction
of this kind. Language plays an important role in film industry in India. Each film
industry is unique not only in terms of the language but the plots of the films, filming
style, dialogue delivery etc are all exclusive and are like a trademark of the film
industry. All these attributes of the film industry are in accordance with the region’s
ethics and culture. The regional films resonate the environment around them and sort
of build a regional identity.
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1.1.5 Hindi cinema
Focusing on mainstream Hindi film industry which is considered to be crème -
de-la- crème of Indian film industry, is not region centric unlike the previously stated
Indian film Industry. Hindi is spoken in only few Northern states of India and is one of
the official language of the State. Exploring how this language evolved from classical
languages – Urdu and Sanskrit, will give insights on how the language stood
synonymous in building national identity and integrity.
Discussing upon how this language is connected with the genesis of the nation
and its language politics, we can see the tensions that besieged amongst the social and
ideological players. The reason behind Hindi being chosen as one of the chief official
language of the country also comes into the picture when these tensions are churned
out. It is interesting to see when the same language used in different occasions bears
binary connotations. Like for instance, Hindi when used for administrative purposes the
language sounds more classical and elite and while used in films it is more common
and plebeian.
It is remarkable to see how this official language based films industry (Hindi
film industry) has successfully managed to transcend over regional barriers and surpass
every regional film industry in India. The Hindi film industry has its base in Bombay
(now Mumbai) where there is also the presence of Marathi film industry. Hindi film
industry just like the Marathi film industry produces landmark films, as stated by Vinay
K.M in his book titled Concise Encyclopaedia on Hindi Film and Indian Culture,
“Hindi filmic structure transcends the textual confines of knowing,
understanding India and its Cultural diversity.”
Indian culture is a potpourri of multiple languages and dialects, class, caste,
religious affiliations, regions (states), cultural practices and socio-cultural conventions
and; Hindi cinema has managed to inculcate and absorb all these aspects of Indian
Culture and form a unique film industry which resonates with the integrity of India.
Hindi films over the years has managed to depict Indian culture, the class
structure, caste, gender and also the growing and emerging trends in the country. These
films also have the ability to retrospect the element of social change from keeping in
mind the human identities which are constantly under transformation due to various
factors. These transformations lead to the expansion of the public sphere of the present
day contemporary society and culture.
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Currently on an average eight hundred movies are produced in India- inclusive
of regional and mainstream cinema, making the Indian Film Industry one of the highest
film producers in the world. Initial Indian movies were based on religious and folk
themes. Out of these eight hundred movies produced in India as estimated in the survey
conducted in the year 2003, around two hundred and twenty films are in Hindi language
alone. It is now truism to say that Hindi cinema is closely connected with the imagining
of the Indian Nation. Thus, it would also not be wrong to state that Hindi cinema is the
primary ‘dominant culture manufacturing institution’ and assisted in the ‘imagining of
The Indian Nation.’
1.1.6 Bollywood
‘Bollywood’ a term created by the Bombay's film industry which produces films
in Hindi - is the most popular film industry of India. Hindi cinema industry is the largest
film industry in the country and to an extent across the world. Approximately two to
three films are released every Friday and are screened for an average of fifteen million
people every day.
Bollywood since the beginning has been instrumental in providing affordable
entertainment to the masses. Bollywood films, have been able to surpass all regional
boundaries and has captured a large number of audience down South too. Apart from
that Bollywood also finds an audience base in many foreign countries too, this is all
possible due to the increase in the NRI population to some extent. Apart from this, the
extensive promotional techniques and out of home shooting of the films add on for the
rise in foreign fan base rise.
1.1.6.1 Commercial films
Commercially successful films play a major role in creating popular Indian
consciousness. Commercial films are very significant when it comes to generating
popular response and shaping popular imagination. These films with their combination
of song, dance, fantasy, action and spectacle attract Indian audience.
In Indian commercial films, morality plays an important role. In these films one
can witness virtuousness triumphing over malevolence, and the social order, questioned
by the activities and actions of improper and abhorrent individuals, is restored by the
force of righteousness. Entertainment and education are amalgamated in a manner that
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has a direct appeal to the mass film goers and the thought of abhorrence and evil is the
focal point in Indian commercial discourse.
Melodrama is at its top in Indian commercial movies. Elements of Melodrama
such as, the polarization between good and bad, the conflict amongst righteousness and
immoral, the hatred between what is idealistic and what underhandedness is certainly
present.
1.1.6.2 Parallel Cinema
Parallel Cinema is a film movement in Indian cinema that originated in the state
of Bengal in the 1950s as an alternative to the mainstream commercial Indian cinema,
represented largely by Bollywood. This genre of cinema was heavily influenced by
Italian Neorealism, and was a precursor to the Indian New Wave which began in the
1960s. Notable directors of this era are undoubtedly Satyajit Ray, Mrinal Sen, Ritwik
Ghatak. Films of this era garnered popularity for their sheer depiction of stark realistic
plots, settings, characters and roles. The absence of song and dance is what made this
genre stand out from the rest. The films are also known for its serious content and the
depiction of social issues.
Off late we can the influence of this era on present day filmmakers too. But the
dominance of the ‘Bollywood masala’ seems to have infiltrated and making films take
a different course but has a sound backing of elements of Parallel Cinema But
nonetheless, films like Dor, Gulal, Udan, Gangs of Wasseypur all deal with social
issues and at the same have managed to include the entertainment factor which is very
much essential for a Bollywood film’s success off late.
This research study looks at how Rajkumar Hirani’s films too have a heavy
influence of the parallel cinema as to an extent he too depicts social issues in his films
with a pinch of humour… making the films more popular commercial films than a film
of parallel film genre.
1.1.6.3 Popular Bollywood cinema
Popular Bollywood cinema provides an interesting picture of Indian history and
cultural politics of the country. Popular films tells us a lot about the culture where they
are viewed and enjoyed; even though they may not reflect “reality” in the way that
academicians may want to portray a country. Popular films get at the deepest longings
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and fears of their viewership and their biggest hopes for the future (Parameswaran,
2010).
Popular cinema is a spectacle and not an artistic endeavour. What differentiates
popular Bollywood from the rest of the other kind of films is that the films are not
concerned with the inner life of the characters but that of a viewer in an unconscious
and unintentional manner.
In popular films the way the character and the situations in the film develop is
quite different. In popular Bollywood cinema we see that the characters do not develop
through situations rather situations develop through characters. In the later part of the
research study this phenomenon is explained and it can be observed that the film story
is narrated through a series of incidents which are interlinked through many means like
coincidence, accidents, song and dance.
In popular cinema there is no unexpected conclusion as such but a predictable
climax is present. Art and parallel cinema presents to the audience with something
unknown to them. Popular cinema on the other hand presents elements and themes with
which the audience are pretty familiar with. These films create the atmosphere of déjà
vu and unintentionally and unconsciously creates a psychological impact.
Popular cinema is heavy with stereotypical details and character – the character
is the archetype of the cultural concerns, which, if given a specific historical setting,
would become less forceful, less black-and-white, and thus less communicative. This
can be seen in the case of Rajkumar Hirani’s films – the character of Tapasviji from
PK, Chatur and Virus from 3 Idiots to name a few are all representational characters
whose persona can be seen in people in real life .
From time and again we can see that Indian commercial films have been playing
an instrumental role in being the dominant and ubiquitous role in creating the notions
of heroism, duty, courage, modernity, creation of ‘Indianess” – in terms of fashion and
lifestyle. The relationship between modern popular notion of modernity and liberal
thinking. Recent popular films like Queen and Kahaani explore the capabilities of a
new age woman and break the notion that women are restricted to only indoor activity
and require constant support from men.
Popular films thus, become an important area to be researched upon, though
everything is obvious yet has layers of unconscious material hidden in them which is
unknown to many.
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Only a thin line of difference can be observed between commercial and popular
cinema, the difference being that commercial films seek monetary gain and success and
popular cinema may or may look deeper into monetary gain but it surely does get a
good critical acclaim.
What is common in both the film kind is that the presence of characters who are
easily recognizable and stereotypical and can be classified as virtuous or evil. Evil force
plays a major role in both the type of films. Evil is innate to melodramatic film, this is
because by vanquishing the villain and the evil, melodramas seek to restore the moral
authority of world that for a while which was vulnerable to fall into the traps of the dark
or evil force.
This innate aspect of showing the triumph of good over evil and what is just and
moral in melodrama can be related to didacticism. Most of the commercial and popular
cinema from a really long time teach the audience what is good in the society and what
are the evils in the society and how can one overcome it.
In Bollywood Popular and Commercial films, as mentioned earlier, evil plays a
major role. It is innate to the films and over the years their response to social – political
and cultural forces have transformed themselves. It looks like somehow Bollywood
takes upon its shoulders to teach its audience as to what is righteous and what is evil.
Bollywood takes up this didactic initiative to entertain and educate its masses. This can
be seen in films over the years. Well known popular films like Awaara (1951) directed
by Raj Kapoor was very commercially successful at that time and also a popular film.
Awaara’s popularity was not only in India but across the globe and was well received
by the audience of the former Soviet Union. This film was well received due to the
socialist themes it portrayed and themes were real and instances from the film were
pretty much the same during that time.
Looking at the above stated examples we see that media has the ability to
provide knowledge and create awareness that will tell people about the substantial
events, opportunities, dangers and threats in their community, country and their world.
(Gonzalez-Mena, 2010). Film is also a form of media. Likewise based on Albert
Bandura’s Social Learning Theory of human judgment, values and belief system can
be altered by televised modelling without having to wait for an influential intermediary
to adopt and model what has been shown. (Bandura, 1999)
Since films have an ability to influence a mass audience it is important to study
the constituent elements which help creation of such mass social change. It is therefore
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very important to critically analyse these popular commercial films which instigate
change and have a psychological impact unintentionally.
1.1.7 Rajkumar Hirani
Present day Bollywood filmmakers like Anurag Kashyap, Vidhu Vinod Chopra,
have all experimented with popular culture films. Out of the lot of commercially
successful popular filmmakers Rajkumar Hirani stands out.
An introduction into Rajkumar Hirani and his work will help in understanding
the director of the films chosen for the study. Rajkumar Hirani is an Indian film director,
screenwriter and film editor known for Hindi films.
Hirani began his career in the field of advertising and moved up the ladder by
establishing himself as a director and producer of advertising films.
He is the man behind some classic advertisements like the Fevicol – “Jor Laga
Ke Haisha” and the Kinetic Luna Ad.
Hirani’s film career began with working for Hindi filmmaker Vidhu Vinod
Chopra. Rajkumar Hirani’s first big debut was as the film editor for Mission Kashmir.
Rajkumar Hirani after this laid his hands on his first directorial venture – Munna Bhai
M.B.B.S in the year 2003; which was huge hit. His next movie, a sequel titled Lage
Raho Munna Bhai had a strong cultural impact. The movie was well received both by
critics and the mass audience. Since Lage Raho Munna Bhai, he directed commercially
successful popular culture films, - 3 idiots and PK.
Rajkumar Hirani has won a number of national, Filmfare and IIFA awards under
various categories for his various films. Every film of his has been commercially
successful as stated above and every film apart from entertainment has managed to
unconsciously trigger the minds of the audience to think in a particular way which has
had a significant impact amongst the social and ideological players.
1.2 Statement of the research
“A study of the didactic elements in directorial films of Rajkumar Hirani”
From understanding the definition of the word ‘didacticism’, to researching and
studying the elements of didacticism in the directorial films of Rajkumar Hirani, this
research aims at critically analysing the commercially successful and popular cult
Bollywood cinema.
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1.3 Purpose and the significance of the study
The purpose of this study is to identify and critically analyse the didactic
elements in Rajkumar Hirani’s directorial films. Rajkumar Hirani’s films are seen to
portray elements of popular culture, social issues and the same time commercially
successful. Thus, the purpose of this study is to understand various didactic elements
and also lay a foundation to understanding films of this genre and help future
filmmakers and critiques to understand this section of Bollywood films.
1.4 Research design
The research method used for this research is qualitative. Qualitative analysis is
employed to understand the elements of the film and arrive at conclusions. Content
analysis was employed to study the various elements and a theoretical backing for the
findings was employed. Didacticism, social learning and cultivation theories provide
theoretical grounding for this study.
1.5 Research question
To study elements of didacticism in popular Bollywood cinema.
To compare and contrast certain societal structures in the Directorial films of
Rajkumar Hirani.
1.6 Limitations of the study
A research cannot be carried out without some difficulties. Some of the limitations of
this study are:
Time period of the research.
Audience perception was not considered.
Very few elements of didacticism were chosen for the study
1.7 Scope for further research
Other popular and commercially successful films can be compared and contrasted.
A quantitative approach can be used to study the effectiveness of these popular
films.
More elements of didacticism and thematic patterns in the film can be analysed.
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1.8 Objectives of the study
To study the didactic elements in Rajkumar Hirani’s directorial films.
To study the representation of the society and culture through popular Bollywood
cinema.
To compare and contrast various didactic elements in Rajkumar Hriani’s films to
understand his style of filmmaking better.
To understand popular filmmaker’s filmmaking technique in terms of the story
and characterization.
Chapter 2
Review of Literature
Review of literature is a very important part of a research study. It is necessary
to understand what we mean by review of literature and the need for literature for the
dissertation. Literature review does not simply involve reviewing and critically
analysing articles published in the editorial and review sections of newspapers or books
but involves reviewing and critically evaluating research literature (Hart, 1998).
Film as an industry began to evolve during the late 1800s and in the early 1900s
and from then on films have been produced in various regional languages and also in
Hindi. Close to a thousand movies are churned out of India in both regional and
mainstream cinema, making the Indian film Industry one of the highest film producers
in the world. Initial Indian movies were based on religious and folk themes. The first
Indian movie which was made by Dada Saheb Phalke was Raja Harishchandra –a
movie based on a mythological character. Films over the years have been used for
spreading messages to the society, and history has shown that films have an impact on
the people. In the early 1930s films with strong messages on untouchability, farmer
issues and other issues prevalent at that time were addressed through films. At the same
time India was going through a lot of economic and social changes with a lot of social
movements, reforms and most importantly films with the sense of unity and spirit of
freedom, these became themes of films.
“Mehboob Khan’s Mother India (1957), and Bimal Roy’s Do Bhiga Zameen
(1953), communicated feudal oppression (Murthy C.S.H.N, 2011). As C.S.H.N.
Murthy mentioned in his paper, India faced feudal exploitation and poor farmers were
forced into be bonded labour. Films like Mother India starring Nargis, as the “Mother”
who stood against all odds and fought against this social evil; was considered to be a
landmark film in the Hindi / Bollywood film industry.
Hindi cinema went on to focus on other different social themes over the years,
and movies based on various themes and issues both urban and rural centric have been
made. In present times movies are mostly urban centric both negative and positive
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aspects of the urbanization and urban world, occasionally themes based on historical
figures and mythological figures have been used to answer certain urban issues.
It is necessary to understand film production and viewing culture in India before
films can be studied. Film production and viewing culture has a direct impact on the
society and their response to films. Few facts mentioned by Jack Howard in his study
on the film in India are that “total production runs about two thirds of U.S production,
twice as much as Japan, two and one-half times that of France, and more than five times
Italian production.” (Howard, 1952)But still the western world knows very little of
Indian film industry. The probable reason Jack Howard gives is that of language
barriers and production standards limit the export of Indian films. But due to the rise of
Indian diasporic communities across and better directors and film producers entering
the Indian film industry, few if not all, are getting worldwide release.
In, “The Film in India” Howard quotes Lateef, saying that movies are
considered to be primarily entertainment and escape for the audience. Dance and music
are integral part of Indian culture and this is reflected in Indian films too. Most of the
Indian films have a lot of dance and music in them.
Films in India had a lot to take from historical episodes, epics (Ramayana and
Mahabharata) and not to forget mythology. All of these had fantasy element in them.
Right from the first movie that Dada Saheb Phalke made on the mythological character
Raja Harsihchandra a lot of films on similar lines have been made in Indian languages
over decades now. Fantasy is one thing that has glued Indian audience to films since its
conception. Films serves as an escape from reality and that is what fantasy does.
In his paper “The medium is the new monster” Adam J. Frisch quotes what
Bellin writes in his thesis paper that, “fantasy films, which in this text include
everything from make-believe Sindabad adventures to conventional sci-fi films such as
Jurassic Park.,” both these films reinforce and undercut the audience’s real-world
prejudices and preconceptions. (Frisch, 2006)
Considering Hindi commercial cinema, which is famously called as Bollywood,
it is the fast growing and is an industry growing younger as years pass by in India.
Bollywood over the years has change tremendously and has produced films which are
cult classics. From just being an Indian film industry catering to only Indian audience;
this film industry has garnered audiences across the globe. It is the “skilfully
choreographed dances, moving songs, aesthetically pleasing or lavish sets and costumes
and sensational plots and characters that have invited the attention of newer and wider
14
audiences and, in tandem, given rise to literature that seeks to explain, or to explain
away, the popularity of Hindi films.” (Banaji, 2011). Even in the 1980s Indian films
made by the legendary Raj Kapoor had a number of viewers from Russia. Now a lot of
films have worldwide releases and certain films have alternate endings to suit the
audience in various countries where they are screened.
The author Banaji in her paper talks about historical context of Hindi films
which were based on the good Vs evil, based on emotion, formulaic, escapist,
patriarchal, melodrama, and/or ultra-nationalist and generally politically reactionary
(Banaji, 2011). These elements of Bollywood cinema rightly stated by Banaji can be
collectively called as ‘Bollywood Masala.’ This Bollywood masala can be seen in
Rajukumar Hirani’s films – Munna Bhai M.B.B.S, Lage Raho Munna Bhai, 3 Idiots and
PK. These films will be studied in detail as part of the case study to explore and
understand how the director Rajkumar Hirani has made use of these elements of
Bollywood masala to weave a story with a social message in mind and also study how
these films have impacted the society. Does using clichés actually work? The solution
to this question will be arrived at the end of the research.
It is known to all that there are over 2 million Indians who go to the Theatres
every day and on an average 6-10 films are released at the box-office in numerous
Indian languages every Friday. We can estimate that on an average at of least 5-6 films
that are released in a month are Hindi films. To substantiate the estimate of how many
viewers does Bollywood have the IIFA website will provide accurate and factual
statistics. Apart from this, Hindi films which are melodramatic, highly emotional etc.,
somehow move the Indian audience so much that they being to copy the character in
the film or even think they are the character themselves. Just to give examples when
the films Bunty Aur Babli and Jab We Met released women of all ages across Indian
began to dress up like Rani Mukherjee like the character Bubbly with collar neck salwar
kameez and T-shirts with Patiala pants like Geet a character played by Kareena Kapoor
from Jab We Met. Apart from this “the elevation of crime in the movie inspired many
people to emulate the glamorous couple, resulting in a bizarre trend of real-life Buntys
and Bablis.” (Anonymous, 2015)
People have imitated talking and even the behaviour of iconic characters to
begin with. Some characters have become so influential that they are considered ‘Gods’
and are adored and worshipped. People derive tremendous inspiration from film
characters so much so that influences the community of people that the character is
15
coming from. Classic examples for this could be Amitabh Bachchan’s film Coolie
which released in the year 1983. The character of coolie or a porter played be Amitabh
Bachchan in the movie inspired millions of porters in India and made them form unions
and stand for fellow porters. Down south a Sandalwood film (film from the Kannada
film industry) named Auto Raja which release in the year 1982 had a similar impact as
did Amitabh Bachchan’s Coolie did but the community which was autorickshaw
drivers in the state. Even after decades of the film’s release and also the death of the
actor has not changed the impact of the films instead films inspired on the character
‘Auto Raja’ are made and remade. The film continues to influence young autorickshaw
drivers across the state of Karnataka so much so that drivers stick and paint images of
Shankar Nag on their autorickshaws and also celebrate his birth and death anniversaries.
From this we can say that film as a medium has an influence on the society and
socialization. This form of media can be rightly called as mass media simply because
it can reach out to hundreds of people at once like newspapers, radio and television
does. Thus we can say that media has an influence on socialization (Mena-Gonzalez,
2010).
Role of cinema is neither permanent nor easily concrete and quantifiable. The
role is directly related to the question of how the filmmakers and the audience approach
films and are convinced to view films as social developmental tool. The role of cinema
could either be enormous or, on the contrary very meagre depending upon various
factors of filmmaking and film viewing.
The role of media in development communication is crucial. Media has the
ability to provide knowledge and create awareness that will tell people about the
substantial events, opportunities, dangers and threats in their community, country and
their world. (Gonzalez-Mena, 2010).
In this process of bringing social change, film as a medium has a major role to
play. Social change is not only about big revolutions and revival, but also changes in
the daily attitudes of the people. Films can also be a powerful tool in long-term social
change if they are delivered in collaboration with on-the-ground groups that are already
engaged in the issues relevant to the film (Mukherjee, Emergence of Cinema as a strong
Tool of Social Change, 2015).
Films offer a platform where social issues can be projected and discuss. They
entertain, inform and educate the crowd in a subtle manner and targets on the emotional
16
appeal of the viewer. Hence it is essential to address how certain ideas can be facilitated
through the medium of films.
Provoking social change to occur is a difficult task. The term ‘Social’ involves
the society of people, their values, beliefs, cultures, etc. The term change refers to
transformation and alteration of any kind. Thus, social change would refer to alteration,
transformation or modification of society’s behaviour, beliefs values and cultures.
Social change will not happen in minutes or seconds. For a change to happen in the
society it takes years and the transformation happens in stages and steps that mainly
involves a lot of people of different mind-set, upbringing and backgrounds.
Social change involves a complex interaction of environment, technology,
culture, personality, political, economic, religious practices and beliefs. Media acts a
powerful tool for social change. Film which is also a form of media, influences the
minds of the people and helps in bringing about a change. Films often can be seen as
the ideal world the people wish to see, most of the time an ideal person who is the hero
in the film fights against social injustice and saves the society. This is typical of super
hero films but these days in films which have no super heroes too are based on this
theme. To name a few like Dabaang, Oh My God, etc. Few mainstream Bollywood
cinema focus on social issues and a common man’s character is transformed into a super
hero like character and saves the society.
Cinema as mentioned earlier in India is celebrated and is almost like a religion.
With large number of people thronging cinema halls everyday watching a number of
films released in multiple Indian languages. With huge fandom, fan following and
worshipping of film stars we can surely see the impact of films in India. Films in India
have proven to motivate and bring about a change in the society. Examples of movies
have already been mentioned earlier. These films have created a phenomena and even
after decades after the film’s release they have continued to move masses. Classic
example in Karnataka would be Shankar Nag’s Auto Raja , Sangliyana, C.B.I Shankar
to name a few. The film Auto Raja brought the auto-driver community in the state
together form unions for the welfare of fellow auto rickshaw drivers.
Films certainly enable in bringing about a change, at times the change might be
subtle and at times they might be very big. Bollywood films like Mother India, Bandini,
Achhoot Kanya, Pakeezah, Manthan to name a few old classics. In modern times films
like A Wednesday, Dor, Oh! My God, Kya Kehna, Taare Zameen Par, Rang De
17
Basanti, Udaan, Balckfriday, Swades have created a similar impact of bringing about
social change in India.
Thus, when it comes to defining social change; social change can be defined as:
“the alteration of mechanisms within the social structure, characterized by changes in
cultural symbols, rules of behaviour, social organizations, or value systems (Form,
2014).”
In the research paper “Emergence of cinema as a tool for social change”
Tanushri Mukherjee highlights that Indian cinema has changed and cinema of the
present times has moved beyond movies woven based on damsel in distress who is
waiting for a fine handsome prince charming to come and rescue her from the villains
and have an happily ever after love song.
She considers today’s cinema to focus on “realistic issues and matters rather
than depicting impractical and unrealistic stories and it plays a major role in portraying
certain fundamental social and political issues which not only entertains the masses but
also educates them on these issues and helps them develop an opinion thus acting as a
strong tool behind Socio- Political Transformation and Mass Enlightenment. Movies
have drastically transformed not only in technical terms but also in terms of story lines,
nature of portrayal of characters, genders and issues (Mukherjee, Emergence of Cinema
as a strong Tool of Social Change, 2014).”
During the 60s and the 70s too many notable filmmakers like Shyam Benegal
and Stayajit Ray made films on realistic themes. They are even spoken about till date
and are considered to be classics. But films of Satyajit Ray like Pather Panchali and
Shyam Benegal’s films were considered to be ‘Art Cinema’ or ‘Parallel Cinema.’
Though these films were all critically acclaimed and did influence people, these films
were never considered to be a part of mainstream cinema. Mainstream cinema of
yesteryears was a typical Bollywood masala film with song, romance and drama.
In the 80s and initial 90s Bollywood cinema saw the rise of new films with
family dramas as the central theme. Ashique, Hum Aapke Hai Kaun, Maine Pyaar Kiya,
Hum Saath Saath Hain, which had become household names and created box office
records, were all family dramas based on simple, emotional stories which could be
watched by the entire family and were a total three hour entertainment. Dialogues and
songs were given more attention and filmmakers attracted audience through dramatic
dialogues in the films and also romantic songs. Characters too were very stereotypical
and were highly predictable too.
18
Mukherjee in her research paper identifies present day Bollywood cinema act
as mirror to the society and filmmakers don’t shy away from making films on burning
topics, highly sensitive issues too. Filmmakers she says are ready to experiment with
storylines, actors, plots etc. To study on the present day films as a tool for social change
she looks into the following domains of:
Gender
Storyline
Technical advancement
Themes and plots of films
In another major study conducted by C.S.H.N Murthy and Retamoni Das
compares Lage Raho Munna Bhai and Stalin in their research paper titled, “ Social
Change through Diffusion of Innovation In Indian Popular Cinema: An Analytical
Study of Lage Raho Munna Bhai and Stalin.” The paper compares the contemporary
cinema and the cinema of the earlier decades. The paper highlights that earlier cinema
largely focuses on religious or folk or rural life and the storyline was very predictable
and dramatic ending – what we call as filmy endings.
Present contemporary cinema in this paper says that cinema brings before
diverse issues, concepts and problems of society. The paper makes an in depth study of
two films which created box office hits and were pretty unconventional during their
release time - Stalin and Lage Raho Munna Bhai mainly because of their new concept
and some new lesson to deliver to the masses.
Both these research papers arrive at a similar conclusion that Bollywood cinema
has transformed to a great extent and also that the likings and the preference of the
people have also changed too. People of the present times prefer more realistic films
and films which they can relate well to. Films related to the society and social issues
make money at the box office. It is not only that these films create box office records
they also make people question the social practices and issues. Films like No one Killed
Jessica, Kahaani, Peepli Live, Rang De Basanti, Taare Zameen Par, can be used as a
strong tool of ‘mass enlightenment and social awareness.’
More than half of India’s population comprises of the youth. We can thus
roughly conclude that majority of the population who watch films Bollywood films in
particular are the youth only. Thus, it becomes important to understand the impact these
films have on adolescents and the youth. A sociological study conducted by Goswami
19
Ruchi and Kumar Manju on the impact of Indian Cinema on Adolescents focusing
mainly on adolescents of Jaipur- Rajasthan and the results of the study prove that
cinema can be a powerful medium of information, education and entertainment and
results in the process of opinion building in various social groups. Cinema is the
medium that reciprocates in bringing a social change (Ruchi & Manju, 2013).
This study was a very detailed sociological study with objectives to study the
changes seen in the lifestyle, behaviour, change in interests of the different sections of
the society.
Social change can be brought out by educating or teaching values that are
desired. Previously mentioned studies have shown that films have an impact on the
society and can be used as a tool for social change. A scholarly article by Gowri
Parameswaran titled “Teaching India with Popular Feature Films” is on the same lines
looking at how popular Bollywood/ Indian cinema can be used as a text to learn and
talk about India and the general themes that get floated around. She primarily focuses
on how cinema can be tool of education for high school or higher education audience.
Parameswaran says that films made in India by Indians have a different story
grammar, take up local themes, and use traditional story-telling methods
(Parameswaran, 2010). Emotions are boldly represented on screen where at times you
can see a hero shedding tears. Love, happiness, sorrow, pain etc. are depicted in song
and dance. Emotions are not subdued or toned down like in the case of Hollywood
films. Indian cinema explicitly portrays emotions and thereby viewers have a much
more intimate glimpse into ordinary lives in India. Though the film may not be realistic,
Indian popular cinema hits on the emotional and sentimental aspect of its viewers.
These story-telling techniques, storylines and local themes will help high school or
higher education audience to understand the nuances of the country better.
Parameswaran in her article mentions few notable Indian cinema and the language the
film has been made and the themes discussed.
20
The following table highlights the films that have been discussed in the
scholarly article written by Gowri Parameswaran:
Table 1
List of films, the language of the film and the themes portrayed in the film
Film Name Language Theme
Mirch Masala Hindi Gender, rural life in India
Mr. And Mrs. Iyer Hindi and English Caste and Religious conflict,
prejudice, gender, and
romance
Dharm Hindi Caste and religious issues,
gender and social class
Firaaq Hindi The Gujarat riots of 2006,
Hindu Muslim conflict
Ramayana Hindi Indian mythology
Mahabharatha English Indian mythology
Akaler Sandhane Bengali Rural poverty and activism
The Apu trilogy Bengali Gender, poverty, social
class, and work and family
life
Swadesh: We, the people Hindi Community action, social
justice, modern India’s
development choices
The legend of Bhagat Singh Hindi : The Indian Freedom
Struggle, Bhagat Singh,
social inequality
Asoka Hindi Asoka, Non-violence,
Buddhism
Junoon Hindi The 1857 Indian Mutiny
against the British, British
Indian relationships, Social
class during British rule
Parineeta Hindi Love and faith, social class
21
Makhdee Hindi Gender, childhood
adventures, friendship and
sibling relationships
Manthan Hindi Community organizing,
collective farming
Thanneer Thanneer Tamil Community organizing,
water issues
Ramchand Pakistani Hindi India Pakistan border
conflict, social class, gender
Bombay Hindi and Tamil Religion and conflict, the
Mumbai riots of 1992
Dil Se Hindi Terrorism, romance
Many elements in films help in provoking social change to occur. Most often it
is the characters or roles and songs which inspire people or attract a section of the
society. Lead actors with their charisma, dialogues and life like acting in films have
brought about a change in the society and there are many movies to prove it. An
example of this kind would be Shankar Nag’s film Auto Raja, Amitabh Bachchan’s
Coolie to name a few.
Villains are an important element in films. Mogambo of Mr. India, Gabbar
Singh of Sholey, Sukhi Lala in Mother India all these villains have made their presence
felt. Without the role of a villain in the film the role of the hero is incomplete. For it is
the villain that the hero has to fight against and save the people. These villains from
time to time have taken shape of various people, blind beliefs and social stigma. In the
classic film Mother India the villain was in the form of Zamindar and the evil bonded
labour system that was prevailing for quite some time in India even after gaining
Independence in the year 1947.
The heroes and the villains in the films have thrilled and entertained the
audience and also passed on messages to the film viewers. The valiant hero who is ideal
with all the possible good qualities, cannot stand any kind of injustice rise against social
evils and villains and protects the people.
In the book review of Tapan K. Ghosh’s Bollywood Baddies
: Villains, Vamps and Henchmen in Hindi Cinema, Imke Rajamani talks about how the
role of evil in popular Hindi cinema can be very meaningful and worth researching,
22
debating and can be discourse of its own. The author in his book has projected the
villains in a position where one can empathize with them. In one section of the book
the author provides an analytical historical approach in which he traces the change of
the villainy form from the 1950s till the present times. The author relates the increasing
growth of industrialisation, urbanisation in the post –Independence India the evil
characters change from being village money lenders and greedy Zamindars to the
Mumbai based businessmen, underworld dons and crooked politicians in the 1970s. In
the 1980s the villain became more charismatic and hard to get challenging the image
of the hero. In 1990s saw a change in the image of the villains:
“Instead of narrating the duel fight between good and evil, these
films present shady characters that exploit the moment of surprise, for example,
when the lover unexpectedly turns out to be a killer and murders his fiancée. With
the decline of action films during the 1990s and the return of the romance through
the concept of rebellious love, clearer distinctions between good and bad seem to
return to the screen. The villains tend to become weaker than their powerful
predecessors in the 1970s and 1980s (Rajamani, 2015).”
The present time has seen villains who have become much more powerful and
stronger in all possible ways. This can be seen in the remake of the film Agneepath, the
role of Sanjay Dutt as Kancha Cheena where Kancha was more powerful and perverted
that the original villain. Ra One a super hero film of the recent times saw another form
of a villain. This film had such a powerful villain- Ra One.who was undefeatable. The
film used maximum technology in the making and elements of sci-fi was present in the
film.
The author mentions classic villains of every decade which can be related to the
real life villains in the society of that time in India. These villains helped in the creation
of landmark films in the history of Bollywood which had an impact on the nation and
also the box office.
Mehbob Khan’s Mother India which was released in the year 1957 had Sukhi
Lala a penny-pinching tight-fisted moneylender. In the 1950s and before that India had
the zamindari system in the rural parts. Zamindars were rich landlords owing acre and
acres of land and often lent money to poor farmers who were most of the time illiterate
and got lured into the landlord’s words and ended up begin bonded labourers for
generations. This was a social practice and poor farmers lost their land, money crop and
at times unable to repay debts committed suicide. Mehbob Khan’s Mother India was
23
revolutionary and depicted this social evil with Sukhi Lala as the mirror to the real life
cruel Zamindars and Nargis as Ma (Mother India) who with her sons fought against
Sukhi Lala. Dacoits flourished during the 1950s till the 1970s. India saw many
infamous dacoits and were played Robin Hood’s role in the region they were in. Dacoits
were the subject of several films made during this decade, beginning with Ganga
Jamuna (1961) and Raj Kapoor’s Jis Desh Mein Ganga Behti Hai (1960), and Sunil
Dutt's Mujhe Jeene Do (1963).
Sholay (1975), where the character of Gabbar Singh was played by Amjad
Khan. Sholay became a classic in the genre, and its success led to a surge in films in
this genre.
In present Bollywood film scenario villains – both fictional and real characters
of the past and the present are taken up and films are made. The Bollywood films have
moved on from merely giving a human form for a villain to portraying certain social
beliefs, myths etc. as the villain in the society and how it is creating anarchy. An
example with this contemporary beliefs would be Umesh Shukla’s Oh! My God which
was released in 2012, Peepli Live by Anusha Rizvi, Mahmood Farooqui in 2010, Chup
Chup Ke, Rocket Singh Salesman of the Year etc. Rajkumar Hirani’s directorial films
also have a similar story line which is the focus of this study.
It is interesting to see how the infamous ‘Bollywood Baddies’ can be understood
as markers and factors of landmark changes in India. To substantiate the book
Bollywood Baddies: Villains, Vamps and Henchmen in Hindi Cinema, Tapan K.
Ghosh has given the example of Raj Kapoor’s 1951 film Awara. The author believes
that it is through the dacoit character – ‘Jagga’ that the socialist agenda which was
prevalent during the Nehruvian era was projected. Had it not been for Jagga Daku to
lure Raj into thieving and robbery when he was a kid, Raj Kapoor would not have been
able to depict the poor and how circumstances paved way for young boys and men of
the lower poor class into anti-social practices. The movie was quite relatable for
majority of the audience of that time considering the scenario of that time and it sure
did influence people to fight against the socialist agenda in a subtle way.
Antiheroes throughout the history of films have made an impact with their
unconventional roles. Merriam-Webster online dictionary define anti-heroS as “ a main
character in a book, play, movie, etc., who does not have the usual good qualities that
are expected in a hero.” It’s often the plot and the extraneous conditions which make
an antihero. This kind of phenomenon can be seen in South Indian films too. Chandan
24
Gowda in his article titled ‘Machhu- Langu Kannada films’ attempts to look at changing
political morality in the present times and also speaks about the influence the anti-
heroes have in building the climax and situations which lead in provoking people
towards making changes in their society. The author considered the following films to
base his argument upon:
Om (1995)
Ak-47 (1999)
Majestic (2001)
Daasa (2003)
Kariya (2003)
Kalasipalya (2004)
Jogi (2005)
Deadly Soma (2005)
The author states that these ‘machhu –longu’ films begin under the carpets of
near-total triumph of a corrupt system. The various environmental and situational
factors, the author says, pull the hero into indulging in violence and turn him into an
anti-hero.
Anti- heroes according to the author, “exhibit virtues of honesty and fair-play
amidst their violent efforts to carve domains of autonomous authority within an evil
system. The violence of the anti-heroes, however, is ultimately not condoned in any of
the films. Punishment awaits them in the form of death or life imprisonment. Violent
means of achieving the ends of social justice continue to be morally illegitimate in these
films (Gowda, 2009).”
Tracing the rise of anti-hero popularity in Bollywood film industry, it can be
seen during the 1970s with Amitabh Bachchan. In the paper prepared for TFI-WHO,
Geneva “Bollywood’: victim or Ally?” The author defines the person of a traditional
anti-hero is characterized by two vices – smoking and drinking ( TFI- WHO, Geneva ,
2003). This helps the character to identify himself as the antihero and helps him to
create an aura of rebellion which appeals and attracts many. Often these antiheros wear
they angst in their sleeves and are rebellious. Circumstances make them rebellious.
After Amitabh Bachchan many actors have donned the antihero role.
Apart from villains certain important social figures form the lead characters in
films from time and again. Mahatma Gandhi has been a theme and an example in many
25
Bollywood films from a long time now. Every time a film made on Gandhi is different
from the one made previously. Bollywood literally revives the spirit of Gandhi by
showing how irresistibly he continues to haunt India today (Parnjape, 2014). Paranjape
in his research paper says that Rajkumar Hirani has not only given the Indian audience
the glimpse of ‘‘Gandhigiri’’ – a totally new way of doing Gandhi in the world and this
is very remarkable. The author feels that Gandhi remains as a media- savvy person even
after his death as he was during his life.
The author believes that director Rajkumar Hirani’s narrative modes and
mimetic styles of representing Gandhi in Lage raho Munna Bhai is unintentionally
complementing the reel and real life Gandhi thus having an uncanny symmetry.
What the author finds very unique about Gandhi in Lage Raho Munna Bhai is
that the film is not about Mahatma’s life at all but it is about his afterlife and the impact
he has had on generations of people. Though many have forgotten him time and again
there is the need to revive the spirit of Gandhi. This is attempted by Rajkumar Hirani
in this film.
Gandhi is seen only to Munna in this film. Munna is delusional and reading so
much about Gandhi has made Munna think as if Gandhi were alive and he could see
and converse with him. But still this film has been able to create an impact and also has
been a high grossing film so the author believes that this film should be taken seriously.
It is not always that a Gandhi film has such an impact.
That a Gandhian film could do so well is thus not just noteworthy, but invites
further analysis. It was as if it became India’s answer to Attenborough’s Gandhi, but
offered a new way of filming Gandhi in our times, suggested by the neologism it coined,
‘‘Gandhigiri’.’ The film, moreover, inspired copy-cat instances of this method, with
several reports of how one of its techniques, sending roses to adversaries, was
successfully duplicated in many parts of the world. According to newspaper reports,
the film caused a spurt in the sales of books on Gandhi and several schools organized
group screenings (Zeeshan, 2006). Summing up its unusually strong impact, Sudha
Ramachandran quoting from Outlook magazine, says, “Lage Raho Munna Bhai marks
the magnificent, fun filled return of Gandhi to mass consciousness. (Parnjape, 2014)”
The author concludes by saying that the film does engage with Gandhian thoughts
seriously but cannot be pigeon-holed as a traditionalist or purist exposition either. The
film, for the author, portrays a lot of inconsistency towards violence in its scheme of
things, repeatedly showing the efficacy of violence and the defeat, at least partial, of
26
non-violence. Instead of fetishizing non-violence, Munna Bhai looks at it as a part of a
larger arsenal that needs to be employed to combat social evils and corruption. To that
extent, the film take on non - violence is less Gandhian and more in keeping with the
traditional Sanatani practices. While the traditional expounds the dictum “ahimsa
paroma dharma” (truth is the highest dharma), it does not rule out righteous violence
altogether, especially, and as a last resort, according to the Mahabharata, when all other
recourses have failed. Sanatana dharma, it would seem, espouses the epitome of non-
violence even if it is somewhat ambivalent as to its immediacy; Gandhi on the other
hand upheld both the immediacy and ultimacy of non-violence.
Kavaeree Bamzai in her article ‘When Bhai meets Bapu’ writes that the film
celebrates the serious with sentimental cynicism and subaltern style that Munnabhai
MBBS became so well known for. (Kaveree, 2006)
Dev N Pathak in his research article Cinematic imagination of ‘Multiple
Gandhi’ states that Mahatma Gandhi had been a sought after theme/ topic for poplar
Hindi cinema from a very long time. He believes Hindi cinema has reduced Gandhi as
a mere prop in the film. He believes, “The Popular Hindi cinema, despite the critical
issues thereof, renders Gandhi into an embodied, fluid object, available for intellectual
as well as emotional engagement. Suffice it to say, the cinematic imagination also aids
in making Gandhi an ever fresh and contemporary possibility (Pathak, 2013).”
Chapter 3
Methodology
3.1 Definition of research
Research is a logical and systematic search for new and useful information on a
particular topic. Research has many objectives. The objectives of research depend on
the person who is conducting the research and the purpose why the research is being
conducted.
General objectives of research are as follows:
To discover new facts.
To verify and test important facts.
To analyse an event or process or phenomenon to identify the cause and effect
relationship
To develop new scientific tools, concepts and theories to solve and understand
scientific and non-scientific problems.
To find solutions to scientific, non-scientific and social problems.
To overcome or solve the problems occurring in everyday life.
Research Methodology is a systematic way to solve a problem. It is a scientific
and a systematic way of conducting a research. Research methodology can be defined
as, “the systematic, theoretical analysis of the methods applied to a field of study
(Wikipedia, 2015).”
Research methodology comprises of a detailed explanation of the various
research methods and procedures the researcher takes up to arrive at conclusions.
Research methods are the various procedures schemes an algorithms used in research
(Rajasekar, Philominathan, & Chinnathambi). The various methods that the researcher
used to conduct his or her research is termed as research methods.
Whereas research methodology is the systematic process by which the research
methods are implemented. Research methodology consists of theoretical analysis of the
various methods and principles associated with a branch of knowledge. Typically, it
encompasses concepts such as paradigm, theoretical model, phases and quantitative or
qualitative techniques (Wikipedia, 2015).
28
Research methodology not only involves the description of the various research
methods employed but also considers the logic and context behind the methods the
researcher is using to conduct the research. It also explains why the researcher has used
a particular method or technique
A research methodology is beneficial for a researcher in many ways. One of the
many benefits for the researcher is that methodology provides the theoretical
framework for understanding which method or set of multiple methods or theoretical
practices can be applied to conduct the research and arrive at conclusions.
Importance of research methodology in research is that it provides the necessary
training in choosing methods, materials, scientific tools and training techniques relevant
for the problem chosen.
3.2 Research philosophy
A research philosophy is a belief about the way in which data about a
phenomenon should be gathered, analysed and used. Epistemology refers to what is
known to be true and doxology is what is to be true and these two terms forms the
philosophy of the research.
3.3 Types of research methods
Research methods can be understood as those methods/techniques that are used
for conduction of research. Research methods can be broadly classified into three
groups:
First group includes the methods which are concerned with the collection of data.
The second group includes of statistical techniques which are used for establishing
relationships between the data and the unknowns;
The third group consists of methods which are used to evaluate the accuracy of the
results obtained.
Research can be broadly classified into two types:
Fundamental or basic research
Applied research
Fundamental or basic research involves an investigation on basic principles and
reasons for occurrence of a particular event or process or phenomenon. This type of
research is very theoretical in nature. The results of this research may or may not have
29
a immediate use or application; as this type of research is not concerned with solving
any practical problems of immediate interest.
Fundamental research provides insight into a problem and focuses in providing
logical solution to the problem research upon. This type of research helps in coming up
and formulating new theories and phenomenon.
Applied research on the other hand studies individual or specific cases without
the objective to generalize. This type of research involves, solving problems by
employing well known and accepted theories and principles. Applied research aims at
any variable which makes the desired difference. This research ties to understand and
state how things can be changed and correct the facts which are problematic.
Basic and applied research can either be qualitative or quantitative or can be a
culmination of both methods. Quantitative research is based on measurement of
quantity or amount. Qualitative research is concerned with phenomena relating to or
involving quality. Qualitative research is especially important in the behavioural
sciences where the aim is to discover the underlying motives of human behaviour.
Through qualitative research we can analyse various factors which motivate people to
behave in a particular manner or which make people like or dislike a particular thing.
Qualitative research methodology aims to look at the cause-effect relationship in the
research problem.
3.4 Research methods used in this research
The researcher has chosen a set of methods and theories which is most suitable
for conducting the research based on the research problem. The researcher employed
content analysis method to arrive at conclusions.
3.4.1 Content analysis
Content analysis is a research tool used to determine the presence of
certain words or concepts within texts or sets of texts (Writing@CSU, 2004). Content
analysis can be applied to examine almost any work of writing or occurrence of
recorded communication. Thus, this method is used in fields like marketing media
studies, literature, ethnography, cultural studies etc.
Content analysis, is also described by B Devi Prasad as the scientific study of
content of communication. It is the study of the content with reference of the meanings,
contexts and intentions contained in messages (Devi B).
30
The application of content analysis is as follows:
To describe the characteristics of the content
To make inferences about the causes of content.
To make inferences about the effect of the content.
Content analysis can be used to understand a wide range of themes such as
social change, cultural symbols, changing trends etc.
Thus, content analysis was used to analyse the content of the films chosen for
the research. Many elements of the film were taken into consideration while conducting
the analysis.
In this research this method was used to categorise different themes, characters
and plots in Rajkumar Hirani’s films and to find out how the antagonist character in
Rajkumar Hirani’s films provoke social change through creating awareness amongst
audience.
Parameters for content analysis chosen were based on the dominant social issues
depicted in the films. These social issues help to understand the films in a didactic
perspective and view the film form just being an entertainer. The social issues which
were considered in the study are as follows:
Caste structure
Changing trends in urban India
Class structure
Educational facilities
Lack of facilities provided for different sections of the society
Medical facilities
Myths & blind beliefs
Post-independence situation
Religion
Societal stereotypes
Unemployment
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3.4.2 Comparative analysis
Comparative analysis technique was another method the researcher adopted.
The researcher compared different elements in the movie which instigated social
change and compared it with another film of the director. This method helps the
researcher to generalize the research problem stating that Rajkumar Hirani’s films
provoke in creating social change through creating awareness amongst audience.
Parameters included for comparative analysis is as follows:
Imposing institutions
Urban societal stereotypes
The thematic patter of Individual Vs Society
Living or creating an utopian society
3.4.3 Theoretical analysis
Theoretical analysis provides a foundation for the research study. Theoretical
framework also helps the researcher to substantiate and validate the findings from the
content and comparative analysis. This also proves that the findings of the research is
valid. This method of analysis helps the researcher to generalise the problem statement
and arrive at conclusions.
The researcher has employed Didacticism, Albert Bandura’s Social Learning
Theory and Cultivation Theory to analyse the films.
3.4.3.1 Didacticism
Didacticism is a philosophy that emphasizes instructional and informative
qualities in literature and other types of art (Wikipedia, 2015). The term has an ancient
Greek origin – ‘didaktikos’ which is associated with education and teaching, as
mentioned in the definition didactic meant both to entertain and educate. From ancient
this literary device has been employed in plays, poetry and other forms of art and
literature to educate and entertain the masses. Didacticism is used in film medium too,
with the same purpose kept in mind. The didactic element in popular commercial
cinema may be unintentional by it does unconsciously effect the audience.
Historical reference to didacticism suggests that it was used extensively in plays
in Europe in the medieval times. The theatrical performance made use of allegorical
characters to teach the people a moral lesson. The most common themes that were
32
presented in morality (didactic) plays were commonly known as the seven deadly sins:
pride, lust, greed, envy, wrath, sloth and glutton. The theme of the plays emphasized
on repentance and redemption which was only possible if a person intentionally gives
in to temptation (Didacticism, 2015).
The function of didacticism in literature, art or film or any other media is that it
offers some extra information to its audience than merely pleasure and entertainment.
Though critics believe that didactic elements may reduce the artistic and
creative content of any piece of literary or art work by giving life lessons and
instructions but nonetheless it gives the audience a chance to improve their cognitive
skills and comprehend evils which may lead him astray.
3.4.3.2 Social Learning Theory
Social Learning Theory focuses on the learning that occurs within a social
context. Albert Bandura is considered to be the leading proponent of this theory. Albert
Bandura in this theory states behaviour is learned from the environment through the
process of observational learning.
Bandura believes that humans are active information processors and think about
the relationship between their behaviour and its consequences. Observational learning
could not occur unless cognitive processes were at work (McLeod, 2011).
The principles of this theory is as follows:
Humans have the ability to learn by observing the behaviour of others and the
outcomes of those behaviours.
Learning can occur without a change in behaviour.
Cognition plays a crucial role in learning.
Social learning theory can be considered a bridge or a transition between
behaviourist learning theories and cognitive learning theories.
The classic Bobo Doll experiment conducted by Albert Bandura in 1961,
showed how people are often reinforced for modelling behaviours of others and also
that environmental factors also reinforces modelling. Modelling teaches new
behaviour, increases the frequency of previously learned behaviours, may encourage
previously forbidden behaviours and increases the frequency of similar behaviours.
33
3.4.3.3 Cultivation theory
Cultivation theory states that high frequency viewers of television are more
susceptible to media messages and the belief that they are real and valid. This theory
was originally stated by G. Gerbner. Research study based on this theory studies media
effects on the people who are exposed the particular medium. It is generalized that
regular television viewing can have a long-term effect that gradually affect the audience
(Davie, 2010).
The theory suggests that this cultivation of attitudes is based on attitudes already
present in our society and that the media take those attitudes which are already present
and re-present them bundled in a different packaging to their audiences. One of the
main tenets of the theory is that television and media cultivate the status quo, they do
not challenge it. Many times the viewer is unaware the extent to which they absorb
media, many times viewing themselves as moderate viewers when, in fact, they are
heavy viewers.
The theory also states that television and media possess a small but significant
influence on the attitudes and beliefs of society about society. Those who absorb more
media are those we are more influenced (Davie, 2010)
Chapter 4
Data Analysis
4.1 Summary of the Films
Summary of the films provides an insight into the films. The summary includes
major happenings in the film which is analysed in the following sections.
4.1.1 Munna Bhai M.B.B.S
Figure 1 Munna Bhai film poster
In Munna Bhai M.B.B.S., Murli Prasad Sharma is nicknamed Munna Bhai, a
neighbourhood goonda (goon) - an exorcist and a criminal involved in ‘Dadagiri’ in
Hindi. Munna’s father Sri Hari Prasad Sharma wanted his son to be a doctor. To fulfil
35
his father’s wish Munna creates a false enterprise named Sri Hari Prasad Sharma
Charitable Hospital – a charitable hospital in the name of his father. This charitable
hospital of Munna comes alive brusquely when Sri Hari Prasad Sharma comes to
Mumbai to visit his dear and beloved son Munna.
On one such visit it to Mumbai, Sri Hari Prasad Sharma happens to meet a very
old acquaintance of his. This old acquaintance happens to be Dr.Asthana. The two men
are very happy about meeting each other after a very long time. They decide to get
Munna marry Dr. Asthana’s only doctor Chinki to marry Munna as decided decades
ago when Munna and Chinki were very young children. Munna’s Family go to Dr.
Asthana’s residence to plan for the wedding. This is when the truth about Munna’s
actual whereabouts and business is revealed to his father.
Sri Hari Prasad Sharma learns from Dr. Asthana that Munna is not a doctor but
an exorcist and a local goon. Munna’s parents are at aghast and are heartbroken on
learning that their son is a goon – a hoodlum and not a physician. They immediately
leave for their village humiliated and embarrassed. Munna is also extremely depressed
for having put down his parents and shattering their dreams. He decides that the only
way to redemption is by enrolling himself into a medical college and obtain a graduate
medical degree – M.B.B.S.
He wishes to enrol himself into the best medical college in the city – Imperial
Institute of Medical Studies and the Dean of this best medical college in the city
happens to be Dr. Asthana himself. Munna manages to obtain admission in the college
by forcing and threatening a senior doctor to write the entrance exam for him. Munna
is hopeless in his studies and fails to understand medical procedures and terms. But he
manages to bring life to the hospital and even gives even the dying the will to live
through his ministrations. There are various instances in the films which questions the
way patients are treated in the hospitals especially in the government run ones. Munna
believes that doctors have to be more compassionate and treat patients not merely as
sick people but as humans and tires to restore humanity in people.
There is also a love drama in the film too. Munna had first met Chinki when he
was a very young boy and has memories of her as a young girl. Though he had paid a
visit to Dr. Asthana’s house for his wedding proposal he had not met her. The first time
he meets Chinki is in the medical college, but she introduces herself to Munna as Dr.
Suman. Chinki like her father is a doctor too. She choose to keep her relationship with
Dr. Asthana as a secret with Munna. Munna and Chinki meet several times in the
36
medical college and Munna finds himself falling in love with Dr.Suman, every time
they have a conversation. Munna is on the verge of being rusticated and many people
in the hospital protest against Dean Dr. Asthana’s order. Dr. Asthana challenges
Munna to answer a set of questions set by a board of doctors in front of an audience.
The board of doctors who were in favour of Munna prepare him with the set of
questions so that he wins the challenge and would be allowed to stay in the college.
The examination is held and Munna begins to answer the questions and he begins to
think about a patient named Zaheer who dies in his arms and he is unable to help him.
Munna gets frustrated by his behaviour and accepts the fact that he cannot be doctor
and is better of as a goon and leaves the hall. After this heated incident Dr. Asthana
feeling accomplished leaves the hall, and he pauses to listen to his daughter Dr. Suman
speak. Dr. Suman feels disgusted and false praises him and runs out of the hall.
The film ends with Munna reconciling with his parents who are proud of their
son who spread the seed humanity, friendship and compassion; though he did not
become a doctor. The film ends on a happy note with Munna and Dr. Suman getting
married, Dr. Asthana working in Munna’s Charitable Hospital.
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4.1.2 Lage Raho Munna Bhai
Figure 2 Lage Raho Munna Bhai film poster
This is a sequel to the previous movie Munna Bhai M.B.B.S. with the two
characters Munna Bhai and his sidekick Circuit. This movie like the previous one
employs humour and drama.
The film begins with Munna disguised as a taxi driver kidnapping a man.
Munna kidnaps this man as he owes a large sum to another person who has asked
Munna to help in extortion.
The story goes on with Munna sitting on the deck listening to a radio show.
Munna is in love with a Radio Jockey – Jhanvi’s voice and never fails to listen to her
show. In this scene, Jhanvi is heard announcing that she would conduct a contest
featuring the life and beliefs and Mahatma Gandhi set for October 2nd , Gandhi Jayanthi,
a national holiday celebrating the birth of Mahatma Gandhi.
Munna devises a plan to meet Jhanvi. Circuit helps Munna to win the contest
by kidnapping and then bribing a group of professors. As the winner of the contest,
38
Munna gets the chance to go to the radio station and go live on air while Jhanvi
interviews him. Munna introduces himself to Jhanvi as a Professor of History and a
Gandhian scholar. Jhanvi afterwards asks Munna if could give a lecture to a group of
senior citizens who reside in “Second Innings House” – an old age home, she runs along
with her grandfather.
Munna does not want to let down Jhanvi and agrees to give a lecture. Left with
no choice, Munna decides to go to the library dedicated to the Father of the Nation –
Mahatma Gandhi. Munna engages himself in deep intense study of Gandhi, his life,
principles and philosophies. Munna becomes so engrossed in studying about the life of
“Bapu” (Gandhi is lovingly called Bapu) for three days and nights without sleep, food
and water. It is during this period that Bapu appears as an apparition and offers to help
and advice Munna. Bapu encourages Munna to tell the truth to Jhanvi that he is not a
history professor but a goon. Gandhi appears in front of Munna every time he recites
‘Raghupati Ragahava Raja Ram.’ With Gandhi’s help Munna is able to win over Jhanvi
and begins to lead a new life based on ‘Gandhism’ which gets a makeover name
‘‘Gandhigiri’’.
Soon, Munna begins to co-host a show with Jahnvi and Bapu, advising and
instructing his audiences to follow the path and ideals of Gandhi in their everyday lives.
He spreads his idea of ‘‘Gandhigiri’’ to every listener. Munna believes ‘‘Gandhigiri’’
to be the sole solution for all problems. The film goes on Munna solutions to many and
changing their lives.
The film has a dramatic subplot too. This involves a deceitful and dishonest
businessman named Lucky Singh. He promised as part of dowry for his daughter’s
marriage he would also give the groom the Second Innings House – a prime property
in a very prime location. Lucky Singh with his dishonest means manages to acquire
The Second Innings House and entrusts Circuit to demolish the house. Munna along
with Jhanvi and the senior citizens put up a stayagraha and after a lot of drama the house
is recovered by Munna. Munna in the movie later, is seen to help Lucky Singh to get
his daughter married. It is during the Satyagraha protest that Munna and people of the
Second Innings House stage in front of Lucky Singh’s house that Munna reveals about
his actual profession to Jahnvi. Jhanvi is taken aback and leaves Munna. But towards
the end of the film we see that Lucky Singh’s daughter is happily married off and also
gives birth to healthy children and Jhanvi also accepts Munna.
39
4.1.3 3 Idiots
Figure 3 3 Idiots film poster
The film begins with three former classmates Raju Rastogi, Farhan Qureshi and
Chatur Ramalingam going in search of their other classmate Rancho. Raju and Farhan
were never able to meet Rancho after they graduated from Imperial College of
Engineering.
The course of their search of their best friend ‘Rancho’ they re-live their fun
filled past as students at ICE. The three friends had joined ICE for different reasons.
Rancho joined ICE for the love for engineering and science, Raju had joined ICE as an
engineering degree would land him in a good high paid job and Farhan was in ICE only
for his parents who dreamt and wanted his son to be an engineer. Rancho experiences
the wrath of the dean Viru Sahastrabuddhe (Virus) due to his unorthodox answers and
his philosophy on how the education system should work. Virus the dean is a very strict
40
person and is very meticulous and orthodox too. The ideologies of both clash and often
cause arguments in class.
Chatur Ramalingam a.k.a ‘Silencer’ is the model student of Virus – Viru
Sahastrabuddhe the Dean of ICE. Chatur goes by what is in the books and impresses
his professors by his excellent rote recitation. Chatur once gets a chance to present a
speech in formal Hindi, despite his limited knowledge and fluency in the language. The
librarian offers to help Chatur to draft an excellent speech in formal Hindi to impress
the Dean. Rancho and Farhan decide to play a prank on Chatur’s and change few words
in the speech which makes the speech very vulgar and obscene. By humiliating Chatur,
Rancho demonstrates to Raju how mere rote learning will not help and shows the
limitations of blind learning.
There is a romantic twist to the story when Rancho falls in love with Virus’s
younger daughter Pia. Pia is engaged to a money-mad NRI- Suhas and Rancho is
horrified. He demonstrates to Pia that her fiancé only cares about money and expensive
things.
The three friends play tricks and tantrums, mostly in tit-for-tat reactive revenge
for some action of Virus. One day when the three friends are completely drunk and
Rancho dares Farhan to post his photos to this wildlife photographer he wants to inter
with and dares Raju to stop being so superstitious and coward. The two friends dare
Rancho to express his love he has for Pia. The friends all drunk break open into the
Dean’s house, Rancho tells Pia’s sister how much he love Pia instead of telling her.
Farhan and Raju defecate in front of the Dean’s gate. Virus sees Raju and the
next day he calls Raju to his office. Virus tells Raju to type a letter to his parents
informing them about his termination from college. Raju pleads to stay, and Virus
concedes that he stay provided that he modifies the expulsion letter to expel Rancho
instead.
Conflicted between his family and friends, Raju attempts to commit suicide by
jumping from the window. He is rushed to hospital and due to his injuries he can hear
people but cannot respond or move his body. Raju later recovers and realises that he
has always been afraid in life and decides to attend his job interview with a new mind-
set and attitude.
Rancho convinces Farhan to go and tell his parents how much he likes wildlife
photography and that he wants to pursue a career in the same field and not engineering.
41
His father finally understands his son’s passion and decides to support him with all he
needs to go for the internship.
Fearing that Raju will not get the job he really needs to support his family,
Rancho and Farhan steal the questions; however, they are caught and sentenced to
expulsion. Pia later tells her father - Virus that she was the one who gave the keys to
the idiots. In a heated argument that Pia has with her father she blurts out that he was
responsible for her brother’s death too. Pia storms out of the house in utter disgust. Pia’s
sister Mona who was pregnant gets sudden labour pains and had to be rushed to the
hospital. Due to heavy rains the entire city is flooded and no ambulance was able to
reach their house. Virus decides to take his daughter to the hospital himself but the
heavy rains and flooded streets makes him not able to take her to the hospital.
Rancho and his friends rush Mona into the college common room where they
conduct the delivery of the baby via Voice over IP to Pia. The baby does not cry and is
assumed to be a still born, everyone get devastated. Rancho however, revives it by using
his signature quote "All is well" and the apparently dead baby responds and wakes. In
gratitude, Virus allows the trio to take their final exams. Rancho attains the top rank in
the institution and is awarded Virus's prize pen, retained for an especially-capable
student.
The story comes back to present when they get to know that their friend Rancho
who they studied with wasn’t the Rancho who they meet. They get to know that their
friend was the servant’s son in Chanchad mansion and the original Rancho had taken
credit of everything he did.
Raju and Farhan get to know where their friend is residing and head to Ladakh.
During the search, Raju and Farhan pick up Pia from the middle of her wedding. They
come to a school where supposedly their friend Rancho teaches. They see inventions
resembling those that Rancho would create.
Accompanying them is Chatur, who has managed to freeload onto Raju and
Farhan over the course of their journey. The four find the man behind the distinctive
inventions, who turns out to be the Rancho who they studied with. When they ask him
to reveal his real name, he identifies himself as Phunsukh Wangdu, Chatur's prospective
business partner and a world-famous, reclusive scientist. Upon learning this, Chatur is
horrified and begs Phunsukh/Rancho to establish the business relationship – just after
he had forced Phunsukh to sign a declaration of defeat and attempted to humiliate him,
apparently to no effect.
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The film ends with Chatur chasing Rancho and his friends and this scene
resembles the philosophy of Rancho that "Excellence ke pichhe bhaago, kaamyaabi
jhag maar ke pichhe aayegi" (Hirani, 3 Idiots, 2009).
The film aims to comically mock the current education system and practices. It
also points at certain social settings, class structure etc, which hinder the development
of the society.
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4.1.4 PK
Figure 4 PK film poster
An alien in a human form lands on the earth naked on a research mission in
Rajasthan. A thief steals his remote which is only way to connect to his spaceship and
is stranded on earth. In his search for his remote he encounters many incidents which
forms the plot of the story.
On the same day that the alien lands on earth; in Bruges, Jaggu meets a man
named Sarfaraz. Sarfaraz is a Pakistani. They both fall in love and even plan to marry.
When they seek their parents’ consent, Jaggu’s dad objects the relationship. Jaggu’s
dad believes everything that Tapasvi Maharaj says and Tapasvi Maharaj predicts that
Sarfaraz would leave her and go away.
To prove that wrong, Jaggu decides to get married. At the wedding chapel Jaggu
is waiting for Sarfaraz, while she is waiting for him a boy gives her a letter in which
says the marriage is called off due to differences. She returns to India and becomes a
television reporter.
44
When Jaggu is travelling around the city in search of a news item, finds the alien
sitting on a seat in the metro station and is giving out pamphlets saying ‘God is missing.’
Jaggu tires talking to her but he ignores her.
After multiple attempts, Jaggu manages to get to know the alien’s story and how
he tries to fit in as a human. Jaggu learns that he is called Pk (in Hindi means drunk, he
was called so because of his behaviour which made many people think he was drunk)
by people. He tells her how he manages to learn Bhojpuri and that he came to Delhi in
search of his remote. When PK is told by a lot of people that only God can help him to
get his remote back. He begins hunting for God. In his search he encounters the Tapasvi
Maharaj with the remote and tries to get it from him.
Tapasvi falsely claims to have attained the object from God in the Himalayas
and refuses to return it to PK. After hearing PK's story, Jaggu devises a plan to expose
Tapasvi and recover PK's remote. PK is shocked and remarks that the Tapasvi and the
other Godmen are dialling a ‘wrong number’ and that is the reason why people’s
prayers are not being answered by God properly. Jaggu encourages her channel viewers
to take videos of their own experiences with Godmen. After massive public appeals the
Tapasvi is forced to come and be a part for of a live show and confront PK.
Tapasvi claims he has a direct connection to God and refers to his prediction of
Sarfaraz's betrayal as proof. But, PK, who had absorbed Jaggu's memories, discovers
that Sarfaraz did not write the letter she received. Jaggu contacts the Pakistan Embassy
in Belgium where Sarfaraz worked part-time. The embassy tells her that Sarfaraz still
loves her and calls them daily to inquire whether she has called. Jaggu and Sarfaraz
reconnect and Tapasvi, exposed as a fraud, is forced to return PK's device.
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4.2. Analysis of the films
Table 2
The film name, year of release, thematic patterns and issues depicted in the film
Name of the
film
Year of
release
Film
genre
Prominent
thematic
patterns
Issues depicted in the
film
Munna
Bhai
M.B.B.S
2003 Comedy
Drama
Individual Vs.
Society
Good Vs. Evil
Medical facilities
Class structure
Caste structure
Lack of facilities
provided for different
sections of the society
Stereotypes
Lage Raho
Munna
Bhai
2006 Comedy
Drama
Romance
Individual Vs.
Society
Post-independence
condition
Class structure
Stereotypes
Changing trends in
urban India
3 Idiots 200 Comedy
Drama
Individual Vs.
Society
Educational facilities
Unemployment
Class structure
Changing trends in
urban India
Stereotypes
PK 2014 Comedy
Drama
Romance
Individual Vs.
Society
Religion
Myths & blind beliefs
Class structure
Stereotypes
46
Table 3
Languages used in the films and the catchphrases
Didacticism happens to be the core pattern which is being endorsed through
cinematic engagement in the present Indian scenario. Munna Bhai M.B.B.S narrates an
interesting story of the protagonist – Munna Bhai – the local goon. Munna Bhai goes
to medical school to fulfil his father’s dream of seeing his son being a doctor.
Munna’s father wished for his son to be a very famous and successful doctor.
But in reality Murali Prasad Sharma was an exorcist, criminal and goon of the Mumbai
Underworld. Every time his father came to Mumbai, faux Sri Hari Prasad Sharma
Charitable Hospital would come to life. But on one such visit when Munna’s father
meets his old acquaintance Dr. Asthana, the faux gets revealed and shattered and
humiliated Sri Hari Prasad Sharma leaves Mumbai. Later on we seen in the movie that
Munna gains admission through cheating into Imperial Institute of Medical Sciences
where he encounters Dr. Asthana again.
Munna Bhai’s skills as a doctor is greatly trifling. He transforms the whole
atmosphere of the college with his intimate and magical hug- ‘Jadoo ki Jhappi’ Unable
to learn medical methods of treatment Munna employs the method of comfort – the
Jadoo ki Jhappi taught by his mother. His approach towards those people who are in
need for help and assistance is through compassion, magical hug and brotherhood.
Film name Language used Catchphrase
Munna Bhai
M.B.B.S
Hindi, Local ‘Tapori’ Hindi, with a little of Marathi
and English
Jaado ki
Jhappi
Lage Raho Munna
Bhai
Hindi, local Tapori Hindi and English ‘Gandhigiri’
3 Idiots Hindi, English All izz well
PK Hindi, Bhojpuri, English, Urdu Wrong
number
47
Figure 5 Jadoo ki jhappi
Even after the Medical School laying emphasis on the obtusely mechanical,
Cartesian, impersonal, often bureaucratic relationships between the doctors and the
patients Munna overcomes every odds in the life.
Figure 6 Munna and Circuit playing carom in an attempt to encourage the old man to live and
attract his attention towards playing
48
Figure 7 Munna using his unconventional methods for encouraging a boy to quit the idea of
committing suicide repeatedly
The above two screenshots of the film shows us that Munna Bhai employs
unconventional methods of treatment. Like for instance, in the first screenshot we can
see a boy has been admitted in the hospital after consuming a lot of sleeping pills in an
attempt to commit suicide. Munna after getting to know from his mother that this was
the second time that he tried to commit suicide; Munna through song and dance narrates
his failed love story of his own tries to change the boy’s mind and encourages him to
face rejections and live a successful life for the woman – his mother who loves him
dearly and not a girl who rejected his proposal.
Another instance is when Dr. Rustom’s father gives up on living by not eating
and drinking. Munna decides to play carom board with Circuit in front of the old man.
They begin passing loud comments on every strike taken by each of them and this
awakens the patients sleeping in the ward and also Dr. Rustom’s father. Dr. Rustom’s
father gets up, he walks towards the carom table takes the striker and wins the queen.
Though this is very dramatic and unimaginable it worked for Munna and the old man
gave up on the idea of dying. He went on to live for a long time as shown in the movie.
Though Munna’s methods were pretty unconventional and had no medical basis
it did wonders.
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The omnipresent thematic pattern of Individual Vs Society is very evident in
the film. Here, in this film Munna is the individual who is against the archaic society
of doctors. Munna goes against the conventional medical norms and uses his own
method of engaging with the patients. He reorders the personal relations between the
patient and doctor by being more empathetic in a hostile and dis-compassionate
hospital. His approach is almost very holistic and he defies all the medical conventions
and practices by successfully treating a brain-dead man called Anand.
Munna’s first encounter with Anand was when he is being introduced as a
‘subject’ for study in class. The Professor treats Anand as a mere experimental rat to
teach. He does not acknowledge Anand to be human being at all. Munna gets agitated
and shouts at the professor for his inhumane approach.
Munna interacts with Anand as he was able to understand and see just like he
would converse with a normal man.
Figure 8 Munna gets agitated by the inhumane way of treating Anand
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Figure 9 Munna Conversing with Anand Bhai as if he was a normal person
Figure 10 Munna circling around Anand Bhai in the garden
The above screenshots show this aspect more clearly. Later on towards the end
of this film we see Anand regaining his consciousness and speaking and talking just
like a normal person would. Later we see that he is the one narrating the whole story of
the film.
But it is interesting to see that Munna maintained autocratic terms with the
patients, humiliates school bullies, very kind and courteous towards janitors and various
people working in the hospital and also encouraged the patients to make changes in
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their personal lives, so that they do not need medicines or any medical treatments for
cure.
Munna Bhai in the movie critiques the medical profession. He questions the
strict academic almost imperialistic regime employed by doctors to treat patients. He
feels the need for non-academic more liberal and humanistic approach towards
treatment of patients in the hospital.
Munna through is acts of kindness and the magical hug is almost providing a
comic relief in the lives of patients. Through various instances in the film, Munna shows
how the medical profession has turned out to be more lucrative for private doctors and
that a government doctor duly does not get his credit.
Munna Bhai targets the lucrative money-making exploitative condition of the
medical profession where the needs and the expectations seem to be merely for personal
gain and upliftment and forgot the Hippocratic Oath they took to serve people. Unlike
the society of doctors, Munna is the only individual in the medical school who is able
to relate to the patients and understand and respect the value for life. Ultimately he wins
over and his holistic approach receives its due credit. Dr. Asthana the strict imperialistic
Dean of Imperial Institute for Medical Studies too follows Munna’s holistic methods.
Dr. Asthana is seen approaching his patients in a friendlier manner and also prioritizing
treatment over formalities.
The film Lage Raho Munna Bhai, the sequel to Munna Bhai M.B.B.S is
constructed as a social game where the character of Gandhi is used to enact and effect
a social preference. What is similar in the two films is that the two characters Munna
Bhai and his sidekick Circuit still are in both the films with similar character profile.
However the film does not have any connection whatsoever to Munna Bhai M.B.B.S.
The film offered the audience a moral breakthrough in public life with a whole new
version of ‘Gandhism’ which came to be known as ‘Gandhigiri’.
It is important to know and understand the Gandhi in Lage Raho Munna Bhai.
The Gandhi that Munna is able to see in the film is not someone who is distant, archaic
but some with whom we the contemporary masses can relate with. With cameo
appearances by Gandhi, he once again became popular among all ages and cultures in
India and puts an end to a very long period of time where he was almost forgotten.
Munna Bhai transforms in a short span of time from a small time Mumbai
underworld goon to a present day Gandhian. It all began with Gandhi as a subject of
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study for Munna Bhai and Gandhi ended up being the object of obsession for Munna.
The screenshot shows the first encounter of Munna with ‘Bapu’.
Figure 11 The first time Munna encounters with the apparition of Mahatma Gandhi
The film also makes use of ‘‘Gandhigiri’’ – term which came to be used the
very first time. This whole phenomena of ‘‘Gandhigiri’’ resonated well amongst a wide
range of audience pan India and worldwide. This element of ‘‘Gandhigiri’’ was very
instrumental in achieving success for Munna, i.e. winning the heart of his love and also
ensuring that Second Innings House is restored back to its rightful owners.
Munna hosts a radio show with Jhanvi the lead actress of the film and providing
suggestions based on the Gandhian values and principles. In the film there is an instance
too when he convinces Lucky Singh a deceitful dishonest businessman from grabbing
an old age home located in a prime area through his act of Satyagraha – an act of non-
violence.
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Figure 12 Munna hosting a radio show with Bapu
Munna Bhai in the film is seen to converse with an apparition of Gandhi,
seeking some kind of support, comfort, relief and most importantly guidance. Those
around Munna Bhai find him to be crazy and hallucinating (which is very true).
Lage Raho Munna Bhai is considered to be a popular cult film of this time and
the director of the film has made use of this element of popular culture to once again
revive moral and ethical values. Lage Raho Munna Bhai unlike various films that have
been made on Gandhi, focuses on the afterlife of Gandhi. How well people of the
present remember Gandhi and resonate with the ideals of Gandhi.
An instance in the film where Munna Bhai is asking Circuit about Gandhi,
Circuit responds saying that Gandhi’s face is printed on the currency notes , October
2nd is a dry day, he thinks that Gandhi’s children are Indira and Rajiv Gandhi. Cricuit
also knows that Gandhi played an instrumental role getting the British to leave India
and that to walk on the ideals of Mahatma Gandhi means to walk on M.G. Road
(Mahatma Gandhi Road) every day. Though some amount of drama and exaggeration
is employed in the film to depict the fact that modern India have almost forgotten
Gandhi’s existence. This film like the previous film is not that overtly didactic, but a
story is spun around the fact that people remember very little about Mahatma Gandhi,
his ideals and in the process talks about Gandhi and his ideals which are necessary for
every person.
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Figure 13 Munna Bhai and the old people staging satyagraha protest in front of Lucky
Signh’s House
Through the course of the film we can see the transformation in Munna from a
goon to a neo Gandhian, standing up against Lucky Singh not with arms but with non-
violence. Munna is shown to practice what he preaches very similar to Gandhi himself.
The above picture is a screenshot of Munna and the people of Second Innings
House staging a protest in front of Luck Singh’s House to get back their house which
rightfully belongs to them.
Munna’s transformation is not from gangster to decent bourgeois, law-abiding
citizen; but it is from a violent thug to a viable satyagrahi, who also questions and
struggles against bourgeois complacency and reaction. It is this demonstration of the
viability of satyagraha in contemporary India that gives the film its more serious
underpinning. Gandhism vs. ‘Gandhigiri’ is actually doxa vs. praxis, therefore going to
the very heart of the Gandhian project.
An instance when Munna is lecturing a group of elderly people in Second
Innings House, an inmate of the house asks him how he could teach young children at
the park a lesson who were tampering with the statue of Gandhi. As a solution to this,
the apparition of Gandhi tells Munna to encourage people to demolish all Gandhi’s
statues, removing his image from currency, erasing his names from buildings and urges
everyone to keep his name in each an everyone’s hearts.
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Figure 14 Munna & Bapu at the Second Innings House to give a guest lecture on Gandhi
Instances very similar to the above stated ones, can be seen throughout the film
and also shows how Gandhian efforts in non-violence and truth force can still help
transform the situation, if applied diligently, sincerely—and with good humour. If
nothing else, the film shows how the afterlife of Gandhi still continues to influence and
correct our conduct in contemporary India.
The film also looks at the societal structure which is corrupt at almost every
level and they are incapable of serving the needs of the common man and fail to allow
the poor and the weaker sections of the society to exercise their rights and live with
dignity.
Lucky Singh is seen to be very exploitative, crude and dishonest. Gandhi in a
way becomes an antidote, a way of countering some of the worst ills that plague India
today. He thus becomes the means of not just critiquing post-colonial India but of
improving it. The whole apparition – ghost like persona of Gandhi suggests the fact that
he never can be laid to rest. Though he dies his ideas remain forever.
The subplots of the film include instances of people come across everyday like
the in the restaurant where a boy meets a girl. The boy is a prospective groom for the
girl. The girl is not sure if he is the right life partner for her. She is very sceptical. She
calls up on the show Munna is hosting and asks Munna to help her out.
Munna with the help of Bapu provides a smart solution for this problem. Munna
says in order to find out if the boy is well-mannered and well-behaved just observe how
he treats his sub-ordinates and people who are economically and socially weaker than
him. The girl meets the boy at a restaurant. Like a gentleman he makes sure that the girl
is comfortably seated and asks what she would like to eat. The boy is about to place
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their order and instead of raising his hand up to call the waiter or saying ‘waiter’ he
says “choo…choo” ( which is a very derogatory way of calling out to a person.) The
boy‘s gesture to call a waiter at the restaurant was very crude and ill- mannered. Due to
his crude behaviour the girl leaves the boy and the restaurant immediately.
Figure 15 A young man calling out to a waiter at restaurant by saying choochoo
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Figure 16 A man with a smile on his face cleans the spit of his neighbour on his door
Another anecdote is of a man who constantly spat on his neighbour’s door every
day. Bapu gives Munna a simple solution to this. Munna asks the man to clean the
man’s spit every day and eventually he will learn a lesson not to spit. This solution too
works out and the man learns a lesson of not spitting on his neighbour’s door.
In another scene of the film wherein an old man who was able to receive his
pension follows Munna and Bapu’s suggestion to give the clerk all he had with him…
the old man strips off his clothes, he gives aw-ay his hearing aid etc. and with every
item he takes off he tells how much it costs. He bribes the clerk in such a way that he
gets embarrassed and humiliated that he ends up passing the old man’s pension file.
Below is the screenshot of this instance.
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Figure 17 An old man giving away all his belongings to the officer to get his pension file
passed
The clerk out of sheer embarrassment signs the old man’s pension files and
moves the file for further procedures. We have many times heard of or witnessed these
kind of incidents wherein old people and disabled people are made to run from one end
to another for getting small files passed. These government officials and clerks act
ignorant or wait for hefty bribes to be given to them to pass the files. Most of the times
out of no choice people give up and choose to give up on what is rightfully theirs.
These are some of the instances that we come across every day. But most of
them either go unnoticed or we don’t pay heed to them. Either we use force and power
to get control of the situation or we keep mum about it. Through humble ways of
‘Gandhigiri’ Munna gives simple and hassle free solutions to these problems. The act
towards bringing about a change is simple yet very impactful.
These issues dealt in the film are innate to contemporary Indian culture.
Instances in the film helps us to relate well with relationships which are almost on the
verge of be broken, changing socio-political developments, historical revisionism,
gender differences, corruption, choice in marriage and other issues, terrorism ,
educational issues.
Here, once again Mahatma Gandhi becomes the locus of bringing about a
change – a solution to these new urban problems. With a strong reflective and
retrospective gaze the film makes people to look into themselves for solutions rather
that outside.
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The same old Gandhian principles and philosophies are repackaged with an
attractive label – ‘Gandhigiri’ which resonated well with the audience. The concept and
the word ‘Gandhigiri’ suffused well with a familiar everyday used term – ‘Dadagiri.’
‘Gandhigiri’ can be considered as the binary of ‘Dadagiri.’ Through this film it is
portrayed how Gandhian philosophy can be related to contemporary sociocultural
reality space.
Gandhi merely appears as an apparition, is only visible to Munna – a goon,
gangster, counselling him on how to help others and deal with everyday problems. The
film focuses on contemporary Gandhi and debating about the difficulties for
overcoming the bafflement of Social Change and the use of Gandhi –style protests as a
reliable way to achieve change.
To conclude the analysis of the film it is interesting to throw upon the light on
the fact that the original title for this movie was taught to be ‘Munnabhai Meets
Mahatma Gandhi’. This would have been chosen as the title probably referring to that
fact that Gandhi was called Bhai in Africa. The only difference between Gandhi and
Munna Bhai is that Gandhi uses moral power and Munna Bhai uses muscle strength.
The imminent theme of didacticism and meaningful cinema can be seen in 3
Idiots just like the previous movies analysed. This film leads us towards understanding
the creation of an exemplary citizen and the State’s attitude towards education and
similar services, and to extent provides a broad perspective on the politics involved in
the creation of this exemplary citizen.
The film depicts how the human battle for mere existence starts with conception
of the child. The kid opens his eyes on the planet to see the desires drifting according
to his guardians who want their children to become an Engineer, Doctor, IAS officer,
etc. and keep up the family name.
The movie begins with Raju and Farhan in search of their friend Rancho whom
they did not meet after graduating from Imperial College of Engineering. The college
portrays itself to be an elite institution modelled on the lines of IIT. This says it all that
only the crème de la crème are eligible to study in the prestigious institution. There was
an instance in the film when the Dean tells that his own son wrote the entrance exam
thrice and failed miserably all the three attempts.
The film alternates from the present to the past. The film starts off with a
challenge Chatur Ramalingam would have had put across a decade ago against the 3
Idiots – Rancho, Raju and Farhan.
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Figure 18 Virus giving an example for "life is a rat race" and people have to work
hard
Virus like the conventional professor is a taskmaster who believed in
competitions and that life is a rat race and dog eats dog and that one needs to run behind
success and not the other way round. Virus uses the example the bird Koyel which lays
eggs in another bird’s nest and once the eggs hatch the bird pushes away the other eggs
and cuts competition.
But Rancho proved Virus wrong every semester acing the class and Chatur
landing in the second position. Most parts of the film highlights the fact that higher
education and education in India largely focuses mainly on competition. Though
elements of fantasy and drama has been employed in the film largely to narrate the
story, but the main theme of depicting the societal condition, blind beliefs and structure
is effectively portrayed.
The lives of the three protagonists provide a deeper understanding on the
societal structure and the educational scenario weaved around. Raju Rastogi who comes
from a extremely poor middle class family with a paralysed father and a school teacher
mother who earns bare minimum. Farhan Qureshi who is more affluent than Raju lives
in a modest house. Lastly, Rancho who is depicted to be from a wealthy family. The
family structure of the three protagonist depicts the typical social structure prevailing
in India. Keeping in Mind Rancho’s actual roots, from the film it can be inferred that
anyone can become inventors irrespective of their family roots and economic condition
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Figure 19 Farhan and Raju's households
The film talks about the flawed means employed and in turn makes the system
look flawed, taking the example of rote learning and the effects of rote learning in many
instances.
The film director put forth so many real life instances which makes one wonder
if rote learning and bookish, blind learning is beneficial. To begin with the very first
mechanics class the Professor asks for a definition for machine. To which Rancho
responds saying: “A machine is anything that reduces human effort.” The professor is
not happy with this definition and asks for a ‘proper’ analytical definition which is
given in the book. In present world when application of theoretical knowledge is given
importance, the professor was still laying emphasis on bookish definition and expected
the students to mug up definitions and answer in class. This method of teaching and
learning will hinder innovative and creative thinking. This is very ironical; as a premier
engineering institution laying emphasis on merely bookish knowledge. This poses a
great threat to the development of the gen next. A premier institution is resorting to
impart knowledge using traditional archaic methods which will obviously hinder
development.
The second instance is of Chatur Ramalingam who was given the task of giving
a speech on the occasion of Teacher’s Day. In order to impress the Dean, Chatur decides
to deliver a speech in Hindi. Chatur being an NRI does not know how to read or write
in Hindi. With the help of a Librarian he manages to draft an excellent speech which he
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does not understand. To demonstrate to Raju that merely reading and mugging up stuff
is not beneficial, and one must be passionate about what he or she is learning. Rancho
changes a few words in the speech that changed the whole meaning.
Figure 20 Rancho changes a few words in Chatur's speech which makes the speech
derogatory and alters the meaning of it
Figure 21 Virus screaming at Chatur for his derogatory speech
The movie points out at the pressure students’ face due to current methods of
teaching practiced. An instance of the film depicts this issue and touches the hearts of
the audience. Lobo a final year student who was unable to work on his final project has
is father was severely ill and was unable to come in terms with his father’s sickness for
a while. It took Lobo sometime to recover from the shock. But the dean was so
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insensitive to this issue and directly called Lobo’s parents and told them that their son
would not be graduating this year and they need not book tickets to come to ICE. Lobo
unable to bear the shock and not having enough courage to face his parents he hangs
himself in his dorm.
Figure 22 Lobo giving up his life due to pressure and fear of failure
Prior to the scene a very catchy song; Give me some sunshine is played which
is almost like an anthem for every student. This song from the film was so impactful
and created waves.
The film also looks at stereotypes on the professions that a person takes up.
Parental pressure is also a matter of concern in this film. For instance Virus though
being highly educated declares that every male child in his family to be an engineer and
a female child to take up medicine as a profession. His own son who wanted to study
Humanities was not allowed to do so.
The condition was pretty similar in Farhan’s house too. As soon as Farhan was
born his father declared that he will become an engineer. The screenshot from the film
depicts it. Farhan aspired to become a wildlife photographer which was not encouraged.
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Figure 23 Farhan's parents deciding what he would take up as his profession once he grows
up
It’s probably just minutes after Farhan’s birth and he has just been placed in a
cradle for his family to see him for the first time and his fate is decided. His family
decides that he is destined to be an Engineer. Since then Farhan’s upbringing is such
that will help him secure a B.Tech degree from a prestigious institution. Farhan’s likes
and passions are all side-lined and not given much importance. His hobby of
photography is almost ignored by his father and considered to a waste of time and career
not worth pursuing.
Farhan is left with no choices and all the choices for him are made by his
parents. This is pretty much the most prevalent scenario in a typical middle – class
household in India; which Hirani has captured through the life of Farhan in the film.
Situations in the film show how at times parents tend to become highly ignorant and
have high expectations from their child and they want their children to shine the
brightest. The stereotypical notion that my son should be smarter that Kapoor aunty’s
son is highly prevalent in the society still. This is creating a lot of mental pressure and
leading to a lot of psychological disorders and eventually to suicide. At the same time
the film also shows that is is out of sheer concern that parents have very high
expectations out of their children. But in reality it is very harsh.
The director through this film looks at trivial social beliefs which they believe
provides a respectable society. Certain assumptions that only certain degree his
reputable and other are not is questioned in this film. The importance of grades over
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skills is still prevalent in modern Indian society. But this film attempts to break these
misconceptions and bring about a societal change.
Though this movie has a lot of comic elements the film does not detract from
the motive of sending out a serious message. The catchphrase ‘all izz well’ caught on
well with the audience so much so that it became a common lingo for a really long time.
All izz well was a phrase which Rancho used time and again uses in the film to
reaffirmation that everything is alright and instil hope and give courage to finish the
task.
The movie in the ends proves Rancho’s philosophy :
“Kamyabi ke piche mat bhaag, kabil ban, kamiyabi jhak marke tere piche
aayegi. (Hirani, 3 Idiots, 2009)”
The dialogue translates to Don’t run after success, be capable and success will
come running after you.
PK the latest directorial venture of Rajkumar Hirani. This film deciphers
religion, beliefs and myths associated to religion through an outsider’s perspective.
Rajkumar Hirani in this film uses an ‘alien’ character to criticize and challenge the
existing notions. The usage of an alien – who is literally an alien to the ways and
practices of the film, entertains the audience by his comic encounters and at the same
time sends out a message in a subconscious level.
PK is almost childlike in the film just like what Jaggu says in the very end of
the film-
“ Jaise bachche is duniya mein aate hain nage vaise who bhi aaaya tha. Jaise
bachche bahut sawaal poohte hai, vaise who bhi bauht se sawaal poochta tha. Aur
phir ek din… chala gaya… (Hirani, 2015)”
In this dialogue Jaggu tries to relate PK to a child who tries to understand the ways of
the world. What is different between a child and PK is that a child usually has a
companion to teach him/ her about the ways of the world, God, religion and other
aspects which help the child to understand people and their beliefs. But PK is on his
own, he has to learn for himself.
For example in figure 24 we see that PK who is new to Earth, is not exposed
to the dressing style of men and women on Earth. In this clipping of the film PK is seen
wearing a blazer and shirt of a man and a skirt/ lehenga which is worn by women. He
is being ridiculed in this scene by the public because of his attire. It is through this
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comical incident that PK realises that men and women have different dresses. PK says
–
“Thoda time lage samjhema ki aadmi ka fashion alag aur ladies ka phashion
alag. Din ka phashion ala gaur raat ka fashion alag. Khelne ka fashion alag aur
khilane ka fashion alag (Hirani, 2015).”
Figure 24 PK wearing both men and women attire not knowing the difference
His various encounters in understanding God and religion is dramatic and is
entertaining. But his encounters also raises important and right questions. PK who is
new to the concept of religion and offerings that people give to God unintentionally and
unknowingly creates some serious blunders which in real life had he committed would
cost him his life. PK is seen taking a Pooja Thali to the Church and wine to a Mosque.
PK is confused about the various religious practices and customs of the people.
He is unable to understand how humans who are all same by race follow have varied
customs. He is confused to see that a person of one custom is not encouraged by the
people of another custom. He gets confused by religious symbols too. In an instance in
the movie when he sees a depressed woman dressed in white (widow) tries to hold her
hand to know why she looked so depressed, passengers on the bus trash him for his
cheap behaviour and throw him out of the bus. He then sees a young woman beautifully
dressed in a white wedding gown and he naively says, I feel sorry that your husband is
no more. The young woman gets paranoid and her friends beat him saying that her
fiancé is very much alive. In Christian custom the bride wears white and in the Hindu
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tradition a woman wears white when she is a widow. Not knowing this, PK lands into
trouble.
Through his comical encounters he gets to know that everybody on this planet
follow different religions and have different places of worship. A person of one faith
will go to his faith’s place of worship and not anywhere else. After realising this he was
confused so as to which religion he belonged to, whether there is an indication a person
gets and which he is not aware of.
Figure 25 PK running away from the Sikhs
Figure 26 PK escaping by being beaten up by Hindu holy people
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Figure 27 PK escaping thrashings from Muslim women
Figure 28 PK running away from Christian priests
Hirani subtly looks upon religion which has been an issue from a long time in
India and is rarely touched upon by filmmakers. This is simply because how fragile and
sensitive the topic is. In a country like India, with the number of religion equal to the
number of people. India has an history of fights based on religion, an example being
the Babri Masjid massacre. Rajkumar Hirani has employed humour and Drama in his
film to address this issue.
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Hirani’s subtle treatment of this sensitive issue amused the mass audience and
at the same time made them think about the present scenario where on the name of
religion millions of people are killed. Here the director is not very preachy nor is he
very forceful about his take on religion. He put forth the scenario and lets the audience
to decide what they want to take from it.
Therefore, it is best to use an alien who has no religion and new to the existing
stereotypes to question them and contest them to. This is because the alien is regraded
to be more neutral and would reason out the practices than simply believing them.
This film however does not deny the existence of God, but it shows that for PK
God is a belief that gives a sense of hope and courage but anything beyond this is a faux
created by humans to suit their needs.
The film also dealt with the concept of blind faith and belief in Godmen.
Keeping in mind the elements of popular cinema mentioned earlier, this film addresses
the social stigma and beliefs that people abide by in modern Indian society. In the film
it shown that Jaggu’s father is a blind believer of Tapasvi ji – who is like a culminated
figure of the numerous Godmen in the country. We can see to how much extent that
Jaggu’s father follows Tapasvi ji that almost everything had the Godman’s photo on it.
Figure 29 A photograph of Tapasviji on Jaggu's blanket
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Figure 30 A screenshot of Tapasviji's picture on a mug
Analysing the next screenshot which talks about blind belief and myths that is
running in our veins like blood. Jaggu says that Tapasvi Ji had given her father a ‘
GodBox’ which had a God designated for every occasion.
In the screenshot below it is seen that Jaggu’s father is on a treadmill and has
the idol of Lord Hanuman. Lord Hanuman is associated with might and strength.
Jaggu’s father believes that the idol of Lord Hanuman will keep him fit and will give
strength. When he was investing his shares he would show Goddess Lakshmi his laptop
screen and pray that he would reap good profits.
Figure 31 Jaggu's Father praying to Lord Hanuman while on the treadmill
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Figure 32 Screenshot of e-darshan that Tapasviji offers for his devotees for a price
Figure 33 Screenshot of Tapasviji's website offering different types of prashad based on the
devotee's preference
The above two screenshots show how technology has been incorporated to get
in touch with God. Owing to presnet day busy lifstyle and not able to go to the temple
of place of worship. As a means to make money and make God come closer to you
many temples across India have begun offering e-Darshan services to its devotees. Just
one click will land a person with God’s blessings. The film mocks at how God has
been technolgicalized and the whole process of praying to God has been ridiculded
with e-darshan, e-seva and e-prashad.
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The depiction of the concept of blind faith and Godmen, invited the wrath of
many religious groups and several protests. Screening of the film was disturbed in
several places, posters were burnt and protests were held.
Stereotypical thoughts about people was also an element depicted in the popular
film PK. When Jaggu’s parents get to know that she is dating and the boy is a Pakistani
– Muslim they are taken aback. Her mother asks her if she is in her senses to have fallen
in love with a Muslim. She asks her if she would wear a burqa and read Namaaz.
Tapasviji without seeing Sarfaraz, he labels him to be a cheat and a good for
nothing person just because he is Pakistani. The film breaks this stereotype and Jaggu
and Sarfaraz unite with each other in the end.
Lastly, the film PK discusses how a little investment for the sake of religion can
reap amazing benefits. PK demonstrates to Jaggu’s father how people in the name of
God are making money with really small demonstration outside a college where an
exam is being held. He compares his little investment of few coins and a crimson line
on a piece of rock is enough for a queue of people to worship the piece of rock. Like
sheep people blindly follow the previous person. PK also shows to Jaggu’s father that
a lot people are blindly following Godmen and making them rich but not connecting
the devotees with God. A person’s blind faith is a boon for the Godman as he is able to
cash on the devotee’s blind belief.
Figure 34: PK demonstrating to Jaggu;s father that running a temple involves minimum
investment and guaranteed huge profits
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All these incidents happen in real life. Fake Godmen, rocks at every corner of
the street is turned into God, unimaginable and impossible tasks like going up to some
remote place in the Himalayas so that a dying person will get cured or feeding a cow
everyday will help a person land up in his dream job.
Figure 35 An instance of 'wrong number' being reported on TV by various people
All these ridiculous myths and blind beliefs is very thought - provoking, and
these notable incidents in the film is sure to emerge questions in the psyches of the huge
number of audience for a considerable length of time to come, hence it is classed to be
dubious. The above screenshot of the film is of person in the film reporting on a “wrong
number.”
Wrong number was the catchphrase used by Rajkumar Hirani to attract the
audience. This catchphrase like the previous catchphrases he made use of in his films
helped in creating hype and made people think what ‘ wrong number’ was all about
Lastly, it is about how normal people need to comprehend and translate the
'wrong from the right numbers.
4.3 Comparative analysis
In order to get a better understanding of the films and also understand the
director’s work better a comparative analysis of certain elements was also conducted.
The following elements from the film were looked upon:
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4.2.1 Imposing institutions
Imperial Institute of Medical Studies (Munna Bhai M.B.B.S), Imperial College
of Engineering (3 Idiots) and Tapasvi’s Ashram (PK); the word ‘imperial’ is suggestive
of a sovereign empire. The institutions have the supreme authority with one ruling
person who is almost like the emperor.
Imperial Institute of Medical Studies (Munna Bhai M.B.B.S), Imperial College
of Engineering (3 Idiots) - these two institutions in both the films are premier
educational institutions imparting knowledge and training young students to have a
successful career ahead. Here the word ‘imperial’ would denote the best, crème- de-la-
crème and something which is prestigious. The films also show that only worthy
students who clear the extremely difficult entrance test get admission into the college.
A negative connotation can also be attached by naming educational institutions by
“Imperial.” Like for instance it could mean that the institution is very imposing,
orthodox and archaic in nature, keeping in mind the elements of imperialism.
The word ‘imperial’ is synonymous with imposing, lordly, regal, majestic,
authoritative and monarchic. Thus it is very apt name for an institution of this kind.
These institutions in the movie are imposing in every way. They are very strict, archaic,
and stern. The deans of the institutions are very stubborn and rule bound.
4.2.2 Urban societal stereotypes
The films all have an urban and suburban setting. The issues dealt with in the
films are primarily urban middle class problems. The films largely focus on middle-
class mentality and how most of the practices and beliefs are baseless in this modern
world. Though urban India is considered to be highly modern and tolerant, it is ironic
to see that this class of Indians are the most intolerant people in the Indian society.
This can be seen in the class division in Lage Raho Munna Bhai, PK. Apart
from this the treatment given to people of different class and caste in the urban society
can be seen in all the films. Urban Indians are shown to be ignorant and very insensitive.
4.3.3 The thematic pattern of – ‘Individual Vs. Society”
All the films revolve around one individual – the Hero who is slightly different
form the rest of the crowd and has a challenge of adapting to the society. There is one
strong lead character who is against the prevalent social myths and stereotypes and in
the end succeeds in bringing about a change in the society. From Munna to PK all the
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lead roles inspire audience to bring about a change in oneself. The lead individual fights
against the society’s blind beliefs, stereotypes and myths.
4.3.4 Living in an or creating an Utopian Society
Though every film deals with different sections of the society, but overall the
films moves towards the creation of the ideal society where everything is fair and just.
In Munna Bhai M.B.B.S, Munna is trying to modify the impersonal and detached
way of treating patients. He wants doctors to use compassion and be more emotional.
He feels emotion and personal care will help heal a person faster.
In Lage Raho Munna Bhai, the urban city is shown to have lost ethics and values
in the process of developing. Munna revives the Gandhian philosophies and gives it a
catchy phrase ‘Gandhigiri’.
In 3 Idiots the film focuses the educational system and looks in reviving certain
aspects of it.
In PK, the film focuses on the religious system. In contemporary world it is
shown that religion and blind beliefs have no place and these beliefs and hinders
progress.
Chapter 5
Findings & Conclusions
5.1 Summary of the results
The research has been a very enriching experience for the resercher and has
come to very interesting conclusions about the popular films directed by Rajkumar
Hirani and link them to certain theoritcal framework and discources.
5.2 Discussion of the results
Theoritical framework provides a better understanding to the findings and also
prove the findings and arrive at desired conclusions. Popular cinema is a mirror to the
society, it presents popular issues and behaviour patterns helping in people to
understand the positive and the negatives in the society. Popular cinema putforths
elements and themes which the audience are pretty familiar with. These films create the
atmosphere of déjà vu and unitentionally and unconsciously creates a psychological
impact.
5.2.1 Conclusions based on didacticism
Various elements of popular films can be described using didacticism.
According to this literary device, literature art and any form of media makes offers
much more than just enetertainment. The films chosen for this study too are didactic in
nature. Munna Bhai M.B.B.S, Lage Raho Munna Bahi, 3 Idiots and PK are all popular
films with a social issue as the central theme. They are undoubtedly comedy films, the
films manages to blend in well - thought provoking revelations’ and sends across subtle
messages which later makes one wonder.
In medieval Europe didactic plays were used to speak about the seven deadly
sins. The themes of the medieval plays laid emphasis on repentance and redemption
and modern day popular cinema being discussed in this study too looked at bringing
about a change and changing one’s actions for self-betterment and the betterment of the
society.
The character of Munna is the classic example of repentance and redemption,
in both Munna Bhai films. Taking the example of the first film we see that Munna a
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goon, indulged in extortion and is also a Mumbai underworld don. He lies to his parents
that he is a doctor and every time his parents come to visit him he creates an faux
Charitable Hospitable under his father’s name and pretends to run the hospital. He was
lying and misleading and also his way of life was very negative. Once when his parents
get to know of his actual profession he feels ashamed of his deeds and feels terribly low
of having put down his parents and being the cause for their humiliation.
Only by joining a medical school and pursuing a career in medicine will help
him to redeem himself from the burden of causing so much of pain to his parents. Later
the movie ends with a new transformed version of Munna who though has not got a
medical degree but surely has changed as a person.
Similar transformation from practicing Dadagiri to practicing ‘Gandhigiri’ in
Lage Raho Munna Bhai is seen. This movie which was well accepted by the mass
audience had an impact on real life too. This film proved to a true popular didactic film
of the modern times.
Lage Raho Munna Bhai with its revamped contemporary avatar of Mahatma
Gandhi is commendable. This film locked the mouths of all the critics who believed
that didactic element in a film would reduce the creative content of any artistic piece.
This movie unlike the countless number of films made on Gandhi was very
different. Never was Gandhi been used as a spirit or as an apparition. Films on Gandhi
were mainly historic and captured the Gandhi who lived and the Gandhi who fought for
the freedom of India. There was never a movie until Lage Raho Munna Bhai which
portrayed a Gandhi – after his death. The Gandhi figure that the present generation
knows and would relate to.
This popular film with a figure of Gandhi after his death was used to teach the
archaic Gandhian principles and philosophies in a way that would attract the audience.
The romantic encounters between Munna and Jhanvi helped to keep up the
entertainment and also Circuit’s witty dialogues made the audience have a good laugh
too. To balance off this entertainment factor which is innate for a didactic film the
conversations of Bapu with Munna and in the process giving out life lessons helped this
movie to be very successful.
In 3 Idiots, the didactic element is on the face with almost real situations and
giving solutions to the problem which are not over the top or highly dramatic. This
movie was well received by the audience and had the catchy phrase ‘all izz well’ and
the iconic song ‘give me some sunshine.’
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The dramatic elements which were creatively woven amidst all the ‘gyan’ was
the romance between Rancho and Pia and the climax of the plot which shocked the
entire audience was that the person studying at ICE was not really an impersonation of
Rancho and Raju and Farhan’s friend Rancho was another person. Typical Bollywood
elements of love, drama and revenge added on to making the film a successful
entertainer.
While viewing PK as a didactic film, the character PK an alien whose locket to
connect to his world is stolen. In the process of retrieving his gadget, the various
encounters and conversations with a number people helps him to learn a lot of things
and questions a lot of things too.
PK an alien in every sense is naïve in his approach and is the most suitable
person to question the beliefs of the society and the numerous religious practices and
ways of life. Being an alien to the society he is mocked at for his ignorance which would
not be the same in the case of an insider.
PK resembles a European didactic play. Just like how plays with good amount
of education was used to instil good Christian values in the people, PK in contemporary
India makes the people conduct a self-check and see how biased they are. And also
ponder upon how in the name of religion people end up looting and killing millions of
innocent people.
Religion being a very sensitive and heated up issue in India Rajkumar Hirani
has creatively worked his way out and provided entertainment and education – both at
the same time.
5.2.2 Conclusions based on Social Learning Theory
Social learning is the end process of a didactic engagement. Albert Bandura’s
Social learning theory states that it is behaviour is which majorly learnt through the
process of observing the environment around us. Film is an excellent tool for modelling
one’s behaviour. This because there is the presence of a ubiquitous theme upon which
the film revolves around. Several instances in the film reinforce this theme and it
subconsciously hits the viewer’s mind and a new behaviour is learnt.
All the study films which considered for study were didactic in nature thus there
were elements in the film which had to be learnt. Though the films never had a direct
impact on the people and there was no immediate behaviour change but over a period
79
of time the visual s of the people make people engage themselves in a cognitive
encounter with themselves eventually learning a new behaviour.
This is the simple way how songs and iconic dialogues and costumes are copied
by the audience. Phrases like ‘Jadoo ki jhappi’ and ‘All izz well’ became a common
lingo and even if one had not watched the film used these phrases in their everyday
conversations. Therefore, it can be concluded that social learning theory is very
applicable to understand how didactic films are perceived and provides a theoretical
grounding to the interpretations made.
5.2.3 Conclusions based on Cultivation Theory
Lastly, the researcher uses cultivation theory to understand the absorption of
didactic information in films. The theory states that high frequency viewers of
television are more susceptible to media messages and the belief that they are real and
valid. Though this theory was made on the basis of the findings of a study on watching
television but it is very much applicable in understanding what is taken from viewing
films.
As mentioned earlier popular cinema and the films studied in this research
portray a number of every day issues known to everyone but in a manner which is very
subtle, and subconscious. In the films Munna Bhai M.B.B.S, Lage Raho Munna Bhai,
3 Idiots and in PK the director has creatively woven certain seeds which later when
pondered upon will instigate a behavioural change. All the four films chosen for study
are all comedy and commercially successful movies. The viewers of these films are
unaware to an extent to which they absorb the media.
The theory also suggest that television and media possess a small but significant
influence on the attitudes and beliefs of society about society. Those who absorb more
media are those who are more influenced (Davie, 2010). Therefore the films Munna
Bhai M.B.B.S, Lage Raho Munna Bhai, 3 Idiots and PK; all do contain some amount
of material which can influence on the attitudes and beliefs of the society about the
society. This can be stated because all the films are didactic in nature and do address
social issues and society. Many instances portrayed in the film which can result in
behavioural change but it depends on how much of the content is taken by the viewer.
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5.3 Limitations of the study
The researcher faced several constraints while conducting the research. These
constraints would be necessary and helpful for conducting future research on the topic
similar to this research.
Few limitations are as follows:
Time was a major constraint while conducting the research.
This being a qualitative research and time being a major constraint the researcher
had to limit the parameters chosen to conduct the research.
An audience perception and response was not considered for the research and
merely the films were analysed for its didactic content.
5.4 Suggestions for further research
For further research audience perception can be analysed.
Both quantitative and qualitative data can be analysed.
A comparison of other films of other directors which are didactic can be studied.
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