The Indian film industry, all the more prevalently known as Bollywood, is the world's second-biggest, producing a lot of movies every year. In the course of recent years, numerous unmistakable female on-screen characters have called out sexism in the business and have brought up different cases when they confronted separation. They have bemoaned the way that ladies are just expected to look great on-screen and that their sentiments on contents and bearing are not welcome. Female on-screen characters are for the most part expected to be the eye candy of the overwhelming Bollywood film legend. Indeed, even with a liberated champion, there's constantly a main male character who has a basic impact, in the end, enabling her to be effective in her objectives.
For as far back as two years, the discussion around ladies in Bollywood has increased, with unmistakable female on-screen characters, for example, Kangana Ranaut, Anushka Sharma and Sonam Kapoor taking a stand in opposition to sexism. Sharma had brought up an example where the better lodging was given to the male on-screen character since he was the more well-known star. Kapoor has consistently been vocal about the uniqueness in pay among male and female on-screen characters. In the interim, Ranaut, who is known to be vocal about her perspectives on contents and heading, has been exposed to boisterous attack for her trustworthiness and has earned notoriety in the media for being a "windbag."
Many popular Bollywood movies are full of innuendos and misogyny. The songs seem to normalise and romanticise stalking and sexism. For example, ‘tu hi lage sohni tainu maari jawa line main….boyfriend bana le’, goes a song from the movie, Mubarakan, which displays Arjun Kapoor chasing Illeana D’Cruz, or ‘tune English mein jab humko daanta, toh aashiq surrender hua; pyar se maara galon pe chaanta toh aashiq surrender hua‘, from Badrinath ki Dulhaniya, where Varun Dhawan is chasing an uninterested and unconcerned Alia Bhatt. Apart from the extreme sexism rooted in many songs, even a movie like Toilet: Ek Prem Katha motivated by the Swachh Bharat Abhiyan has a usual ‘stalking song’. The song, ‘hans mat pagli‘ has Akshay Kumar stalking and chasing a distressed Bhumi Pednekar, following her on his motorcycle and hideously clicking her pictures without her knowing and to make this normal, the team shot the ‘vice-versa’ of this chasing.
Sultan, Ae Dil Hai Mushkil, Raanjhanaa, Badrinath ki Dulhania, Tere Naam, Wanted, Saawariya, Fan, Tanu Weds Manu Returns, Besharam, Fanaa etc are some of the Bollywood movies with a plot or sub-plot of prominent stalker-lover. A few of these movies are quintessential stalker movies paying tribute to the obsessional madness and violent actions of the stalker.
Sexism runs further than simply the jobs depicted by ladies on screen. Bollywood has a culture of throwing more established male saints close by youthful courageous women, as male stars are reluctant to resign and play more seasoned characters. Then, female entertainers are relied upon to assume the job of a mother or grandma the minute they arrive at 35. This has brought about distinct age contrasts between co-entertainers. As indicated by an examination, the age distinction between co-stars in Bollywood has expanded from a few years to more than 25 in the previous decade.
The Indian media outlet is a mess of sexism. It runs from the base to the top, with not a single change to be found. While the depiction of ladies is improving, female on-screen characters are yet to get a similar treatment as male on-screen characters who genuinely command the business. Bollywood has an issue with ladies.