Both cinemas have portrayed a fundamental recognition of women, in both the conditions as housewife or a normal urban high society girl. Both need free breath, a breath which has not dominated by anyone, not father, husband, boss or anyone.
In our society women never set on the primary citizenship. Always regarded as secondary because of masculine strength, this phenomenon of mans has always dominated women, through different visions. The naked vision is just to go to her slave and consume her beauty. Women are a true virtue of nature, whose fragrance dissolve in life and makes it a beautiful life. Only human beings have never considered her important features. But always considered her as an object, recommended her sinless into man's wisdom.
One particular realization of demonetization is physiological impact, where men use to dominate through illusions. The illusion has been created only through the beautiful features of women like maternity, care, love, religion and beauty.
And in cinema, film producers have also portrayed only the same fantasy of females. Where women are an object of decorum. And only her beauty are resembling through different mediums. Adult females were really optimistic with cinema, there believe that one day it will be an institution of enlighten for women, and mostly cinema has spoken the word of women wisdom but it has also not made out by male dominated world.
On the same floor, few filmmakers put a real graph of women's status in society. In which Satyajit Ray, Shyam Benegal, Shekhar Kapoor and Deepa Mehta are successful to portray the actual virtue of womanhood.
In 2005, Deepa Mehta came with movie Water, it is a dark, introspective into the stories of Hindu widow women. The movie was set in 1938, where on the bank of Ganga river an Ashram in Varanasi, Ashram of widows. Where a very young seven year old widow Chuhiya, come to the Ashram. She was unknown to the fact of widow life and accepting the whole life with parents but not possible. She admitted in the Ashram. In the same institution Kalyani and Shakuntalya was also surviving. Kalyani was a new woman.
Head of the Ashram uses to send Kalyani for prostitution, only because to fulfill the necessity requirements of the ashram.
Shakuntala was a believer and looking for a pilgrim's journey through her worship, but she desired to spare the life of Kalyani and chuhiya.In the same metropolis, a Gandhian fellow was living Naryanan, he was a progressive thinker and think in the enlightenment of women. He falls in love with Kalyani and one day they planned to be merry. But Kalyani founded that he is the son of her customer and she made suicide.
Later Shakuntala heard about the Gandhi visit in Varanasi and sent Chuhiya with Narayanan in Gandhi Ashram.This movie was a genuine phenomenon of Hindu widow women, and Meera Nair has expressed the actual circumstances, where Seema Biswas as Shakuntala in water has expressed the raw truth of rituals.
Seema Biswas was also expressed existential pain of a lower class women in Shekhar Kapoor’s Phoolan Devi, film was the tale of a women Phoolan Devi, who becomes dacoit. She preferred the way because of her unsustainable pain.
She gets married in childhood and her age was evidence of unimaginary pains, which has formulated by the company. Many times she raped, naked in the community. And finally she rebels. Rebels to protect her prosperity, to take revenge. And finally she qualified as a lure. This picture was largely criticized and banned too, but the hard truth has been shown.
We have accommodated women as a goddess in society, we worship her as Durga and Sita. But we always ignored the heart in real pattern. Adult females are likewise recognized to her capabilities, but always saw herself through a lens of human races.
In the start of Indian cinema, women were approachable, their conditions and powers were strongly approachable to Hindi movie theater. Where movies like Charlotte, Devi, Mother India and Damini was very appreciable. And profoundly filmmakers have recommended the workmanship in their cinema. Only cinema was a medium to overcome, and in period cinema was not totally hijacked by men.
But in coming years commodification hijacked the art and only from here women again changed as a product to commodity. Contemporary cinema is talking about women's wisdom, but it is hardly a paradox. This wisdom travels through item songs and sexual appearance.At present, our audience is the opium of item dances and watching women in small cloths. The current ambition of the filmmakers is to generate money- money through ugly erotic vision. Where women advertising the commercial products through sexual appearance, which are more admirable in a man's universe.