Unveiling narratives: representation of same-sex love in Bollywood films

Homosexuality, once classified as a disorder, is now widely recognized as a natural variation in sexual function. Despite its historical presence in India, evidenced in ancient texts and art, British colonization introduced homophobia, culminating in Section 377 of the Indian Penal Code, which criminalized homosexual acts. The decriminalization of same-sex relationships in 2018 marked a significant shift, yet societal acceptance remains a challenge. Bollywood, evolving from Bombay cinema, has become a powerful cultural force, influencing public perceptions of LGBTQIA+ individuals. This paper examines how Bollywood has represented homosexuality, transitioning from stereotypical and comical portrayals to more nuanced and positive representations, focusing on two films that highlight familial reconciliation as central to the narrative.

Bollywood's portrayal of homosexuality has evolved significantly. Early representations often depicted homosexual characters comically or negatively, perpetuating stereotypes. Films like *Fire* (1996) and *Girlfriend* (2004), while groundbreaking, faced significant backlash. Other films, such as *My Brother Nikhil* (2005), offered more sensitive portrayals, but often within narratives of hardship and discrimination. More recent films, including *Ek Ladki Ko Dekha Toh Aisa Laga* (2019) and *Shubh Mangal Zyada Saavdhan* (2020), represent a shift, showcasing same-sex relationships with positive resolutions and a focus on familial acceptance. This paper aims to analyze these latter films as unique examples within the broader context of Bollywood's representation of homosexuality.

This research uses a qualitative approach to analyze the visual elements and narratives in *Ek Ladki Ko Dekha Toh Aisa Laga* (2019) and *Shubh Mangal Zyada Saavdhan* (2020). The analysis focuses on how visual cues, such as clothing, settings, and camera angles, contribute to the representation of homosexuality. The study also examines how familial resistance is portrayed, exploring the perspectives of both homosexual individuals and their families. Specific scenes and dialogues are examined to understand the complexities of familial relationships and the struggle for acceptance.

In *Ek Ladki Ko Dekha Toh Aisa Laga*, the film uses visual elements like subtle colors for the protagonist to represent her internal conflict, while the embedded narrative of a play about a lesbian couple helps facilitate acceptance within her family. The use of pink in the attire of the lesbian characters during the play has metaphorical significance. The film portrays a journey of self-acceptance and ultimately familial reconciliation. *Shubh Mangal Zyada Saavdhan* uses the train number "0377" (referencing the former legal code criminalizing homosexuality) to symbolize the couple's journey towards acceptance. Visual symbols like tattoos and piercings are used to represent the couple’s identity. The film directly confronts homophobic attitudes and celebrates same-sex intimacy in public spaces. The subplot involving a failed scientific experiment mirrors the father's initial resistance and eventual acceptance of his son's homosexuality. Both films highlight the resistance faced by homosexual individuals, both from within their families and from society at large, but ultimately show a positive resolution where families ultimately accept their children's sexual orientations. The narrative structure of both films is similar, showcasing a progression from adversity to acceptance.

These films demonstrate a significant shift in Bollywood's representation of homosexuality. By focusing on familial acceptance as a key theme, they move beyond simply portraying the struggles of homosexual characters to depict a path towards reconciliation and understanding. The films' positive endings and emphasis on dialogue and negotiation provide a hopeful counterpoint to previous representations that often ended in tragedy or unfulfilled desires. However, it is important to acknowledge that these are still mainstream productions aiming for broad appeal, therefore potentially downplaying some of the more complex realities and challenges faced by the LGBTQIA+ community in India.

While limited in scope, *Ek Ladki Ko Dekha Toh Aisa Laga* and *Shubh Mangal Zyada Saavdhan* represent a significant step forward in Bollywood's portrayal of same-sex love, moving from stereotypical representations to more empathetic narratives emphasizing familial acceptance. The films' success suggests a growing openness to LGBTQIA+ themes in mainstream Indian cinema, prompting further exploration into the representation of a wider range of LGBTQIA+ identities and experiences in future films. Future research could analyze the impact of these films on audience perceptions and broader social attitudes towards homosexuality in India.

This study focuses solely on two Bollywood films and might not fully reflect the diversity of homosexual representations across all media platforms or regional contexts within India. A broader comparative study incorporating other films, both Indian and international, would enrich the analysis. Further, the films analyzed, while positive, still operate within a relatively mainstream framework, and may not fully encompass the complexities of LGBTQIA+ experiences.