"Intersecting Realities: Masculinity, Psychological Disorders,

and Romantic Narratives in Bollywood Cinema"

Submitted by: Hiiranshii Daver

Roll number: 21/632, VI Semester, 3rd year

B.A. (Hons.) Journalism, Kamala Nehru College

University of Delhi, New Delhi

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 Certificate of Authenticity

This is to certify that the dissertation titled, "Intersecting Realities: Masculinity,

Psychological Disorders, and Romantic Narratives in Bollywood Cinema" has been

completed by Hiiranshii Daver, a student of Kamala Nehru College, Delhi University for the

completion of her degree of Bachelor’s of Arts in Journalism Honours. All the work

submitted hereby is completed and compiled by the researcher.

Mr. Sanjay Muttoo

Research Supervisor

Assistant Professor, Department of Journalism

Kamala Nehru College, University of Delhi, New Delhi

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 Declaration of Originality

This is to certify that the dissertation titled, "Intersecting Realities: Masculinity,

Psychological Disorders, and Romantic Narratives in Bollywood Cinema" , is an outcome of

the researcher's independent efforts. It is original and has been conducted by the researcher

herself.

The researcher hereby declares that all the sources used have been duly acknowledged and

none of the materials used are fabricated.

Date: 22/04/2024

Hiiranshii Daver

Roll no: - 21/632

VI semester, 3rd year, B.A. (Hons.) Journalism

Kamala Nehru College

University of Delhi

New Delhi

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 Acknowledgements

I would like to express my gratitude to my supervisor Mr.Sanjay Muttoo, for his constant

support and guidance throughout the production of this dissertation. His expertise and

knowledge really helped in carrying out the research easily. I am indebted to his continuous

feedback and reassurance without which, I wouldn’t have achieved the success.

I would also like to thank my brother for being a source of strength and comfort. His

unwavering encouragement and motivation cheered me up in times of stress and my friend

Ayeesha Khan who was a constant support all along.

This research would have not been tangible without the constant support of the people

mentioned above.

Hiiranshii Daver

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 Table of Contents

Chapter No. Chapter Name Page Numbers

1. Introduction 6-12

2. Review of Literature 13-20

3. Research Methodology 21-25

4. Findings and Analysis 26-49

5. Conclusion 50-53

6. Bibliography

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 Chapter-1 : Introduction

GENDER AND BOLLYWOOD

“Bande bike kyun chalate hai, macho dikhne ke liye … jean kyun pehente hai, macho dikhne

ke liye. Bike ho ya ghar, handle hamesha apne haath mein.”( Rab Ne Bana Di Jodi, 2008)

Bollywood has emerged as the epitome of visual narratives in Indian popular culture. With

romantic tropes that often reinforce and reflect contemporary societal norms, values, beliefs

and stereotypes being an integral part. Within the realm of romantic relationships depicted on

the big screen, Bollywood has emerged as an embodiment of entrenched gender norms,

perpetuating stereotypical portrayals of male and female counterparts that adhere closely to

conventional roles and expectations of a normative patriarchal setup.These archetypal heroes

dominate the screen with their charismatic, tenacious and bold attitudes and are the drivers of

romantic pursuits . Thus adhering to societal ideals of masculinity and valour often protecting

and providing for the damsel in distress .

This lopsided power dynamic, entrenched in patriarchal ideologies, is reinforced through the

medium of movies promoting traditional gender roles and perpetuating societal expectations

surrounding masculinity and femininity.

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MENTAL HEALTH AND BOLLYWOOD

“Bachchpan main jab rona aata hai, toh bade bolte hai aasun pocho. Jab gussa aata hai, toh

bade kehte hai smile taaki ghar ki shanti bani rahe. Nafrat karna chahe, toh ijazat nahi di.

Aur jab pyaar karna chahe, toh pata chala ye saala emotional system hi gadbada gaya, kaam

nahi kar raha, cannot function. Rona, gussa, nafrat kuch bhi khul ke express nahi karne diya.

Ab pyaar kaise express kare?” (Dear Zindagi ,2016)

While Devdas (2002) was never diagnosed with clinical depression it is not uncommon for

Bollywood films as they stigmatise mental health illnesses and emotional vulnerability often

end up sensationalising them as well. Darr (1993), for example, made obsessive compulsive

disorder synonymous with villainy , Bhool Bhulaiya (2007 ) sensationalised Dissociative

identity disorder and misrepresented it with paranormal themes and Krazzy 4 (2008) which

utilised themes of mental illness for comedic relief. This is even more prevalent in the case of

men because society expects that “MARD KO DARD NAHI HOTA “. So in movies

featuring romantic genres , the portrayal of male protagonists struggling with mental

disorders presents a dichotomy for the filmmakers as well . Should they focus on authenticity

(of emotions,feelings and experiences of men struggling with mental illness) or should they

adhere to conventional gender norms and stereotypes thus portraying the protagonist as what

the society would expect of a “man” .Navigating this dichotomy proves to be a delicate

balancing act for Bollywood filmmakers, torn between the desire for integration of

authenticity , vulnerability, sensitivity of dealing with such important theme and the pressure

to conform to orthodox societal standards and expectations.

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This dissertation aims to analyse three movies, Karthik calling Karthik (2010) , My Name

is Khan (2010) ,Tamasha (2010) to assess the representation of men with psychological

disorders in Bollywood films of romantic genre with a focus on authenticity (of experiences

of the protagonist) , emotional expression ( seeking help, expression of feelings be it crying ,

feeling scared , hopeless or expressing love) and adherence to patriarchal norms and

stereotypical gender roles ( infallible masculine hero or vulnerable hero who communicates

his mind ?) .

Background

The grandeur of romantic Bollywood movies is a central aspect of their cinematic appeal and

narrative , characterised by an opulent spectacle of emotions, music, dance, and visual

aesthetics. In Bollywood's portrayal of romantic relationships male characters are often cast

as assertive, dominant figures encompassing the hyper masculine qualities of strength,

ferociousness , and unwavering willpower . They exude charm, enigma, pursuing love

stubbornly, frequently engaging in over the top gestures to win the affection of their love

interests. They have everything figured out !

“Ek hath mein girlfriend, ek hath mein trophy” (Student Of The Year 2 ,2019)

At the same time their love interests are frequently relegated to secondary roles that are

limited to supporting and complementing the male protagonist by portraying them as

demure, naive, innocent, and submissive beauties whose primary role revolves around

fulfilling the needs and desires of their male counterparts.

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“Aurat ke ek nahi teen janam hote hain. Pehla jab wo kisi ki beti bankar is duniya me aati

hai. Dusra jab wo patni banti hai. Aur teesra jab wo ma banti hai” ( Chori Chori Chupke

Chupke, 2001).

However In recent years, Bollywood cinema has begun to explore more nuanced and

complex portrayals of characters , One of those being the protagonist battling with

psychological and mental health disorders. Movies like Taare Zameen par (2007) , Dear

Zindagi (2016) Barfi (2012) have contributed to a nuanced understanding of personal

experiences of the protagonist whose illnesses are stigmatised in Indian society. But the

mental health conditions of men remain widely underrepresented and misunderstood. So

movies depicting mental health issues in men represent a shift to a modern approach, a

departure from the traditional archetype of the infallible hero as narrative dynamics undergo a

major transformation. These characters confront internal turmoil, vulnerability, and emotional

fragility and its expression which challenges conventional notions of masculinity , femininity

and romantic heroism. Their struggles with mental health add layers of complexity to their

personalities, allowing for deeper exploration of their inner worlds and emotional journeys.

The interplay between the portrayal of male protagonists with mental disorders and the

reworking of ideals of masculinity within Bollywood romantic cinema is a complex and

multifaceted process that unravels through a series of narrative negotiations and cultural

reflections based on the social framework. At its core, this dynamic interaction marks a

pivotal moment in the evolution of cinematic representations of masculinity with the

filmmakers negotiating between gender conventions that are socially desirable and the

imperative for more nuanced and authentic depictions of male experiences and emotional

expression.

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Through the representation of male protagonists suffering with mental disorders, Bollywood

cinema has the opportunity to challenge and rework customary ideals of patriarchy and by

subverting the established stereotypes, presenting a more authentic and empathetic

understanding of male experience. Thus by foregrounding vulnerability, emotional

complexity, and struggles with mental health, these narratives offer a counter-narrative to the

prevailing idea of the invincible hero, disrupting notions of male indifference and emotional

detachment.

So, depicting male characters who confront their inner demons and seek help and ask for

support from their love ones be it their partners , friends, and family, Bollywood cinema

challenges the notion that vulnerability is synonymous with weakness or femininity for that

matter and redefines masculinity as a multifaceted and ever-evolving construct. Moreover,

the reworking of ideals of masculinity within Bollywood romantic cinema extends beyond

individual character portrayals to encompass broader thematic explorations of relationship

dynamics, power dynamics, and gender dynamics prevalent in the Indian social fabric .

Objective

Psychiatric patients have been found to suffer from impaired Quality of Life when compared

with members of the general population (Gupta et al. 1998, Bengtsson-Tops & Hansson

1999, Ponizovsky et al. 2003). Loneliness, poor relations with the neighbourhood,

meaningless leisure time activities, failures in daily activities and insufficient financial means

and unemployment are some of the everyday facets that they struggle with. But still mental

health remains a taboo topic in Indian society. Bollywood Cinema is one of the most

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prevalent means that influences the perceptions and pervasive ideologies held dear by the

common man, so representation of men with mental health illnesses in movies becomes

indispensable. Thus the objectives of this research are:

● To explore the construction of a psychologically fragile male character

● To explore their dynamics within romantic relationships, with the aim of identifying

the nature of relationships,patterns of gender based representation, power dynamics,

and emotional expression.

● To explore the extent to which traditional gender hierarchies and patriarchal norms

influence the depiction of male experiences and emotional expression and

relationships when battling with mental disorders vis-a-vis their female romantic

partners.

Research questions

1. What is the cinematic construction of the idea of ‘masculinity’ in the films ?

2. How is conflict in the romantic relationship negotiated by the male characters?

3. How is desire and affection expressed by the male characters in the romantic

relationship in the cinematic narrative?

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 Constraints

This study is primarily focused on Bollywood cinema and may not capture the full spectrum

of cultural influences and representations of masculinity, romance, and mental health in many

other cinematic traditions. Another constraint was the sample size of films due to limited

availability of time and resources for this research.

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 Chapter 2 : Review of literature

The research “Representation of men with psychological disorders in bollywood movie of

romantic genre” intends to analyse the portrayal of men in Hindi cinema movies which are

typically driven along the lines of stereotypes and patriarchal structures of society. In order to

achieve this aim , the research goes on to examine three films namely My Name is Khan,

Tamasha and Karthik calling Karthik.

This chapter plans to evaluate the scholarly works that previously exist on similar themes.

Literature in the form of books, research papers and articles will be reviewed .

This chapter begins by overviewing the importance of mental health in everyday lives of

people following a specific focus on stigmatised mental health of men . It then proceeds to

explore representations of gender in Bollywood films . It will then throw light on

representations of mental health in Bollywood films.

Mental Health and everyday life

There are many different types of mental disorders that manifest in different ways the only

thing that remains common however is they affect people and their everyday lives by

disrupting work, relationships, self-care, emotions, and daily tasks.

In the book” Madness: A Bipolar Life" , a memoir written by Marya Hornbacher ( 2008 )she

has chronicled her struggles with bipolar disorder, a mental illness characterized by extreme

mood swings, including manic highs and depressive lows where she offers a candid and raw

account of her experiences living with bipolar disorder, detailing the tumultuous highs of

mania, characterized by reckless behavior, impulsivity, and euphoria, as well as the crushing

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lows of depression, marked by hopelessness and suicidal thoughts. Hornbacher also delved

into the complexities of navigating relationships and maintaining connections during periods

of instability work, daily life while grappling with the unpredictable nature of the disease

describing the everyday prejudice and misconceptions that come along usually with mental

health issues.

Not only that, mental health issues eat up our sense of self leading to feelings of

shame,worthlessness and a disconnect from reality promoting existential crisis.

In “ The Center Cannot Hold" by Elyn R. Saks(2007) she has described her struggle with

schizophrenia, a severe mental illness characterised by disturbances in thinking, perception,

and behaviour. She notes her “struggle to maintain stability and coherence in the face of the

chaotic and disruptive nature of schizophrenia.” It reflects the theme of the fragility of the

self and the constant battle to preserve a sense of identity and purpose amidst the turmoil of

mental illness.

Everyday lots of people with mental health issues battle to preserve their quality of life which

gets affected the most. In the study conducted by A. PITKÄNEN , H. HÄTÖNEN , L.

KUOSMANEN , M. VÄLIMÄKI . which was aimed to assess the correlation between

mental illness and Quality of life , the most frequently named QoL areas were health, family,

leisure activities, work or study, social relationships, home and financial security which occur

commonly in instruments developed to measure satisfaction with QoL .This study showed

that patients’ satisfaction proved to be lower in the QoL areas they had deemed the most

important. For instance Patients’ satisfaction with the QoL areas they had judged the most

important ranged 24–59 (scale 0–100) and so proved to be lower than mean (49.0 -- 69.1

)satisfaction with all QoL areas.

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Thus these people are never able to function properly even physically due to mental illness

which was also noted in a study conducted by Sivan Regev and Naomi Josman where they

assessed the effects of severe mental disorders on everyday life i.e. the activities conducted

on a daily basis in communities and found out that The focus on everyday life, especially for

the severe mental illness (SMI) population, is crucial because there is a hidden gap between

individuals' intelligence and knowledge and their actual performance.

However these are just some instances in the book "The Man Who Mistook His Wife for a

Hat" by Dr. Oliver Sacks, a neurologist, (1985) a plethora of case studies detailing various

neurological disorders and their effects on patients' lives have been compiled. It Mainly

revolves around a man with visual agnosia, a condition where he is unable to recognize

objects despite having normal vision, and he mistakes his wife's head for a hat, illustrating the

profound and sometimes bizarre ways in which neurological disorders can manifest. There

are however many other captivating narratives, exploreing a range of neurological conditions,

including Tourette's syndrome, aphasia, and amnesia, among others.

Thus mental disorders can be extremely complex and challenging making simple everyday

tasks seem tedious and exhausting . And this makes studying them more worthwhile.

Men and mental health

Men's mental health is an important but often overlooked issue. Societal expectations and

stereotypes can make it difficult for men to seek help or even acknowledge their mental

health struggles.

Like in the book “ I Don’t Want to Talk About It” by Terrence Real explores male depression

that delves into the complex interplay between societal expectations of masculinity and the

experience of mental illness. Real meticulously examines the cultural norms that pressure

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men to embody traits such as stoicism, emotional suppression, and self-reliance, often at the

expense of their mental well-being. By adhering to these traditional notions of manhood,

many men find themselves unable or unwilling to acknowledge their emotional struggles,

leading to a pervasive silence surrounding male depression.

Real illustrates how this silence perpetuates a cycle of suffering, as men may internalise their

feelings of shame and inadequacy, aggravating their symptoms and hindering their ability to

seek help. Drawing on his clinical expertise and extensive research, Real provides compelling

insights into the unique manifestations of depression in me in the form of aggression,

substance abuse, workaholism, and relationship difficulties. He emphasises that while men

may express their distress differently than women, their pain is no less valid or deserving of

attention.

While seeking help and expressing vulnerability can heal men in mental distress , it is often

stigmatised. For example in “Breaking the Male Code: Unlocking the Power of Friendship"

by Robert Garfield explores the importance of male friendships and the societal pressures that

often discourage men from expressing their emotions or forming close bonds with other men.

Garfield argues that breaking free from traditional expectations of masculinity and embracing

vulnerability can lead to healthier and more fulfilling relationships for men helping them

cope with mental illnesses.

Gender in Bollywood

Gender portrayal in Bollywood films faces criticism for perpetuating stereotypes and unequal

representation. Since historical times male actors have dominated the industry, often

portraying hyper masculine roles, while female characters are sometimes relegated to

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stereotypical roles like love interests or damsels in distress. Be it representation of patriarchal

structure or representation of gender stereotypes all the big-time hits feature these themes.

However Neelam Sidhar notes that this representation is evolving slowly to include new

ideas and a more liberal and inclusive approach towards gender.

As "Bollywood and Postmodernism" by Neelam Sidhar examines how postmodernist

approaches in Bollywood cinema have disrupted patriarchal narratives and destabilised

traditional gender norms. This involved analysing films that employ irony, parody, or

pastiche to critique patriarchal ideologies and challenge viewers' assumptions about gender.

The book also analysed characters in Bollywood films who defy traditional gender

stereotypes. For example, characters like Rani from "Queen" or Geet from "Jab We Met"

challenged conventional notions of femininity by asserting their independence and agency in

navigating their lives. Sidhar explored how postmodernist Bollywood films subvert gender

expectations through their narratives. Films like "Dil Chahta Hai" or "Zindagi Na Milegi

Dobara'' were discussed for their portrayal of male friendships that prioritise emotional

vulnerability and support, challenging the stereotype of stoic masculinity . Even the use of

visual aesthetics to deconstruct gender norms as noted from the scenes from "Piku '' or

"English Vinglish" where characters' appearances and expressions defy traditional gender

roles, signalling a shift towards more fluid and inclusive representations. Furthermore,

interrogation of patriarchal norms and power dynamics in Films like "Pink" or "Lipstick

Under My Burkha" was cited for their exploration of women's agency and autonomy in the

face of societal expectations and restrictions. Lastly cultural hybridity was dealt with to

challenge gender stereotypes. For example films like "Monsoon Wedding" or "Bend It Like

Beckham" were considered because of their portrayal of characters navigating multiple

cultural identities while challenging traditional gender roles within their communities.Thus

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even though the majority of bollywood earlier revolved around stereotypes, norms of

patriarchy, in the postmodernism period a change was witnessed as ideals of masculinity

were reworked .

Mental health in Bollywood

A research study conducted by Sohini C (Bollywood on the brain: gender and mental health

in Hindi cinema, 2020) found that in films such as Arth (Mahesh Bhatt ,1982 ) , Khamoshi (

Asit Sen, 1969) and Tere Naam (Satish Kaushik , 2003) mental illness is shown as something

that is caused by women (failed love) or something that affects women. If cinema is

considered a lens through which we can understand society, then this speaks of a public

perception that men are not affected by mental illness. Instead, men suffer grief due to failed

love and difficult or unattainable women. Movies like the blockbuster Tere Naam were

quoted that featured a hero frustrated in love, who develops severe mental illness. His head is

shaved, and he is tied in chains—a set-up that looks straight out of a horror film as examples.

Darr (2003), which was one of Shah Rukh Khan's breakout roles, was perhaps the first major

Hindi film to feature a psychiatrist. Where Khan's character is a stammering loner who stalks

a young woman obsessively, and ends up dead. Sohni exclaims , “The film should have led to

a public conversation about mental health, especially among young men, but as a result of the

strong tradition of heroes stalking women in Hindi films, this behaviour was reinforced as a

beloved romantic routine.”

The theme has evolved taking into consideration the critical importance of psychological

disorders . There are instances of plot involving mental illnesses that seem to affect mostly

women, while men stand by as anchors or therapists. Example Dear Zindagi (2017) . .

“Although Hindi films suggest that it is largely women who have mental health problems, in

reality, the opposite is true. According to data on suicides from India's National Crime

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Records Bureau, 1 ,39 ,106 suicides were recorded in India in 2019 (70·1% among men;

29·8% among women).” This points towards underrepresentation of mental health of men in

Bollywood films.

"Mad Tales from Bollywood: Portrayal of Mental Illness in Conventional Hindi Cinema" by

Bhawana Sommya also discusses the portrayal of mental illness in mainstream Bollywood

cinema, providing insightful analysis along with specific instances from films. Like in

"Sadma" (1983) where a young woman named Nehalata (played by Sridevi) regresses into a

childlike state after experiencing retrograde amnesia due to a head injury, the book describes

how Nehalata's condition is sensationalised for dramatic effect, portraying her as vulnerable

and dependent on the male protagonist for care. This portrayal had implications to perpetuate

stereotypes of individuals with mental disabilities as helpless and in need of rescue. In

“Khamoshi: The Musical '' (1996) a nurse named Annie (played by Manisha Koirala)

struggles with schizophrenia. The film is critiqued for romanticising Annie's condition and

presenting her recovery as contingent upon finding love. “Taare Zameen Par '' (2007) features

a young boy named Ishaan (played by Darsheel Safary) who is diagnosed with dyslexia .

While the sensitive portrayal of a learning disability and its emphasis on the importance of

understanding and accommodating diverse learning style is applauded by Sommya, she notes

that the film's focus on Ishaan's artistic talent as a means of redemption downplays the

severity of his condition and oversimplifies the challenges of living with dyslexia. Another

example given is of “Dear Zindagi'' (2016) in which Kaira (played by Alia Bhatt) seeks

therapy to cope with anxiety and depression. Sommaya praises the film for its realistic

depiction of mental health struggles and its destigmatisation of seeking therapy as film

portrays Kaira's journey towards self-discovery and emotional healing with sensitivity and

authenticity, thus challenging stereotypes of mental illness as a sign of weakness.

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Lastly she talks about Black" (2005) in which blind and deaf girl named Michelle McNally

(played by Rani Mukerji) is taught by a dedicated teacher named Debraj Sahai (played by

Amitabh Bachchan). "Michelle's disabilities are depicted as metaphors for emotional and

psychological trauma, using her physical limitations to symbolise her inner struggles.

However, she criticised the film for its romanticization of Michelle's relationship with her

teacher and its portrayal of disability as a source of inspiration for others . Thus we see

certain new themes in Bollywood that revolve around mental disorders but are still plagued

by social norms and expectations somewhere or the other.

Conclusion

This chapter takes a look at the pre existing literature on the subjects of Mental Health,

Mental Health in Men in general, Bollywood and its intersectionality with gender and mental

health. It tried to provide information on the lives of people who suffer from mental health

conditions and their everyday lives and relationships that get compromised due to it .

Popularly understood beliefs regarding gender and mental health in bollywood as well as an

evolved and progressive ideal of gender norms and new themes like mental health have been

talked about by numerous researchers but they usually focus on the women counterpart and

their representation in the mentioned books and research papers which are sometimes plagued

with social expectations and norms Therefore . How the men with mental illness are

portrayed in Bollywood movies of the romantic genre becomes an integral and intriguing

subject for the research .

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 Chapter-3 : Research Methodology

Introduction

Methodology can be defined as a coherent group of methods that harmonise one another and

that have the capability to deliver data and findings that will reflect the research question and

suit the researcher’s purpose. (Creswell ,2003).

Thus, methodology is the study of methods and the underpinning philosophical assumptions

of the research process itself in which different research questions require different

methodologies*1

The research aim of this study is to analyse the representation of men with psychological

disorders in Bollywood movies of romantic genre. The research would evaluate this through

the medium of three films namely ,My Name is Khan (2010), Karthik Calling Karthik (2010)

and Tamasha (2015).

Research methods can be broadly divided into two categories; quantitative and qualitative.

Qualitative research is one which provides insights and understanding of the problem setting.

It is an unstructured, exploratory research method that studies highly complex phenomena

that are impossible to elucidate with quantitative research. Qualitative research is used to gain

an in-depth understanding of human behaviour, experience,attitudes,intentions, and

motivations, on the basis of observation and interpretation. On the other hand Quantitative

1
Mass Media Research An introduction by Roger D. Wimmer
Joseph R. Dominick (chapter 5)

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research is a form of research that relies on the methods of natural sciences, which produces

numerical data and hard facts. It aims at establishing cause and effect relationship between

two variables by using mathematical, computational and statistical methods. The research is

also known as empirical research as it can be accurately and precisely measured. *2

This research will employ the qualitative method as it will be conducive to understanding the

characters, plot ,narrative and underlying themes required for assessing the representation of

men with psychological disorders in the aforementioned movies. Qualitative method will

allow for an in-depth analysis and nuanced exploration of subtext, symbolism and allegorical

meaning embedded within the movies that may be relevant to contemporary social context as

well.

Research Method

● Textual Analysis

Alan McKee talks about textual analysis in his book “Textual Analysis: A Beginner's Guide”

. He describes textual analysis as a method which involves examining the ways in which texts

communicate meaning, whether through language, images, sounds, or a combination of these

elements. His approach focuses on the formal and stylistic features of texts, as well as the

cultural, social, and ideological contexts in which they are produced and consumed.

Thus textual analysis aims to uncover the underlying messages, themes, and representations

embedded within texts, and to critically interrogate their implications for individuals and

society.

2
Qualitative v/s. Quantitative Research- A Summarized Review Sharique Ahmad,, Saeeda Wasim,
Sumaiya Irfan, Sudarshana Gogoi , Anshika Srivastava , Zarina Farheen

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The research methodology employed would be the textual analysis of the three films, My

Name is Khan (2010), Karthik calling Karthik (2010) and Tamasha (2015) as it would help to

understand the encoded meanings in the text . This text would comprise narrative structure,

characterisation, dialogues , relationships, and themes in the movies. The researcher would

employ textual analysis to intricately analyse the characteristization of male and female

protagonists, their dialogues ,their reactions to major events and the overall narrative arc of

the films. The attributes that the researcher would look for would include , Role of the

Provider , Romantic gestures , Decision making power (anchor of the relationship) ,

Communication style and emotional expression , Sacrifice for love , Resolution of conflicts .

The meaning and scope of these criterias would be discussed later in depth. These would be

helpful to answer the research objectives and establish construction of the idea of

masculinity in these films and understand the nuanced gendered power dynamics represented

. It will help garner an understanding of how exactly the society perceives and expects a man

suffering from a mental disorder to act when in a romantic relationship. Is he expected to feel

nothing and act as a provider or is there space for vulnerability where he can seek help and

take a back seat in a relationship . Thus textual analysis will also prove useful to go beyond

the text and understand the ideological references and relevant discourses that align with the

films.

● Sampling

This research will study three Bollywood films that have characters of men suffering from a

clinical psychological disorder with a common romantic theme being central to the plot.

These films are My Name is Khan (2010) directed by Karan Johar , Karthik Calling Karthik

(2010) directed by Vijay Lalwani and Tamasha (2015) directed by Imtiaz Ali.

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In "My Name is Khan," Khan, a man suffering from asperger’s syndrome falls in love with a

single mother, Mandira, but their relationship faces problems due to societal prejudice and

tragedy, propelling him on a journey to prove his love and innocence.

In "Karthik Calling Karthik," Karthik is battling with schizophrenia and his life turns upside

down when he begins receiving calls from his alter ego, who helps him with a newfound

confidence to pursue romance with his love interest Shonali. However, as their love deepens,

Karthik's mental struggle intensifies, threatening to destroy everything he's built.

In "Tamasha," Ved struggles with dissociative identity disorder, alternating between his true

self and a fabricated persona. Ved and Tara meet and Corsica where Tara ends up falling in

love only to discover that Ved is not what he seemed like .

The reason for selecting these three films for research is that Bollywood doesn’t have a lot of

movies focusing on the mental health of men . There are however many films made depicting

the female protagonists with mental disorders for example Dear Zindagi (2016) , Black (2005

) , Barfi (2012) , 15 Park Avenue (2005 ) to name a few .In other films while there lie

references to mental health disorders for example Tere Naam (2003) they are usually

trivialised . Other films for example Shutu, A Death in the Gunj (English, 2016) ; Shaji,

Kumbalangi Nights (Malayalam, 2019) ; Das, Soodhu Kavvum (Tamil, 2013) while feature

themes of clinical psychological disorders are not produced in hindi due to which these were

not chosen for research. The films chosen form a part of popular culture which makes them

feasible for research. They are also chosen because the theme ; the protagonist is diagnosed

with a clinical psychological disorder and has a potential love interest forming the foundation

of the plot, inclines with the research objectives.

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The type of sampling used is Non-Probability Sampling in which not every variable has an

equal chance of selection. The type of Non-Probability Sampling used is Purposive sampling

where variables are chosen based on specific criteria determined by the researcher's

judgement or the purpose of the study. This method allows researchers to select participants

who are most relevant to the research question or objectives. Therefore the aforementioned

movies have been chosen as they possess the required elements which are essential for the

research objectives . They are all bollywood films that fall in the romantic genre and have a

male character with a clinical psychological disorder. Also noteworthy is that these films with

their massive budgets, famous starred celebrities and massive box-office collections are part

of popular culture as well.

Delimitations

Sample size was affected due to the limited availability of films made on a similar theme in

Bollywood . The lack of availability of time and resources for the research affected the

number of research methodologies employed as textual analysis could have had been

supplemented with audience analysis to better understand the implications of the films on the

ideology of the audience and society.

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 Chapter Four: Finding and Analysis

Introduction

The aim of this research is to gain an understanding of how men with psychological

disorders are represented in Bollywood films of romantic genre. The films chosen for textual

analysis feature the male protagonist suffering from a clinically diagnosed psychological

condition placed in a romantic setting. Mental health is often stereotyped, contributing to

perpetual stigma against the people suffering from it. Our society has always been indifferent

to men’s mental well being and stability. The research aims to analyse how men are

represented in a romantic genre of films whilst grappling with a mental condition . Does their

portrayal succumb to the pressures of the patriarchal society where no matter what the

conditions are the protagonist is portrayed as “the alpha male” looking after the damsel in

distress or is it inclusive in the sense that it allows the protagonist of some agency to be

vulnerable, seek help when needed.

Films chosen for this research to study are as follows: -

Film name Year of Release Director

My name is Khan 2010 Karan Johar

Karthik calling Karthik 2010 Vijay Lalwani

Tamasha 2015 Imtiaz Ali

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These films will be assessed based on the following criterias-

1. Role of the Provider

Men are expected to provide financial support, security , physical protection and emotional

assistance to their partners in a traditional relationship setting. They are expected to protect

and provide for their partners. This criteria becomes crucial as mental disorders causeł

feelings of social isolation and withdrawal significantly alter a person’s ability to look after

themselves let alone their partner .

2. Romantic gestures

As the famous term “ Chaand taarein tod laana” goes, There's often an expectation that men

should initiate romantic gestures, such as planning dates, giving gifts, and expressing

affection, to demonstrate their love and commitment. While waking up and going to work

might seem as a task due to functional impairment when grappling with mental disorders,

engaging in grand gestures would certainly become herculean thus making this criteria

significant.

3. Decision making power (anchor of the relationship)

There's a stereotype that men should be decisive and take the lead in making important

decisions within the relationship, such as where to live, how to manage finances, and major

life choices. Women are supposed to be supportive of their partner’s choices. Mental illness

can affect cognitive abilities thus making the criteria important for this study.

4. Communication style and emotional expression

Men are expected to be emotionally reserved, stoic, inexpressive, assertive , insensitive and

confident. ‘Real men don’t cry’ as the term goes. While women are often expected to be

27
sensitive, emotional, vulnerable and selfless often dependent on their partners . This criteria is

important as mental disorders often lead to emotional instability and exhaustion.

5. Sacrifice for love

Traditional gender roles indicate that women are expected to sacrifice personal ambitions,

autonomy, or career opportunities to prioritise the needs of their partner and family . It

becomes certainly intriguing to analyse if women in these films are also relegated to passive

roles when actually it is their partner who needs to be provided for.

6. Resolution of conflicts

Usually in a traditional set up, men are relegated with the task to resolve the conflicts while

women take the back seat. Men do so by fighting, being violent, assertive and dominating

thus emerging as a stoic hero and women have to be accommodative of the men’s actions.

But a psychological disorder can impair judgement , perception of reality and even cause a

sense of dissonance with the idea of ‘self’ which is not necessarily conducive for a physical

or challenging resolution of conflicts.

These are socially acceptable roles that men and women are expected to perform when in a

romantic relationship and have found representation from time to time in many Bollywood

films as discussed before. The research would analyse if these hold true for the movies to be

analysed where the man himself has a serious ailment which usually goes unrecognised in the

Indian society. Or do these movies adopt an unconventional approach thus authentically

representing the characters, their lives and relationships and giving agency to the female

counterparts.

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 SUMMARY

MY NAME IS KHAN (2010)

In "My Name is Khan," the romantic plotline is intricately woven into the broader narrative,

creating a compelling story that explores themes of love, identity, and acceptance against the

backdrop of post-9/11 America.

The film introduces us to Rizwan Khan, portrayed by Shah Rukh Khan, a man with

Asperger's syndrome who lives with his mother in Mumbai. Rizwan's unique perspective on

the world is shaped by his condition, which manifests in his difficulty with social interactions

and his literal interpretation of language. Despite these challenges, Rizwan possesses a kind

heart and an unwavering sense of honesty.

The romantic plotline begins when Rizwan meets and falls in love with Mandira, played by

Kajol, a Hindu single mother living in San Francisco. Their relationship blossoms

organically, with Mandira drawn to Rizwan's innocence, sincerity, and unique way of viewing

the world. Their love is portrayed with warmth and tenderness, offering a glimpse into the

transformative power of genuine connection.

However, their happiness is soon marred by the aftermath of the September 11 attacks, which

fuel anti-Muslim sentiment across America. Rizwan becomes a target of prejudice and

discrimination, facing suspicion and hostility solely based on his Muslim identity. Despite

Mandira's unwavering support, their relationship is tested as they navigate the turbulent

waters of societal prejudice and personal tragedy.

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The turning point in their romance comes with the tragic death of Mandira's son, Sameer, in a

racially motivated attack. Consumed by grief and anger, Mandira blames Rizwan's Muslim

identity for her son's death and demands that he leave. Heartbroken and determined to prove

his innocence, Rizwan embarks on a journey to meet the President of the United States and

tell him, "My name is Khan, and I am not a terrorist."

As Rizwan travels across America, his quest becomes a pilgrimage of self-discovery and

redemption. Along the way, he encounters individuals from diverse backgrounds who

challenge his perceptions and broaden his understanding of humanity. Through poignant

interactions and heartfelt moments, Rizwan learns valuable lessons about love, acceptance,

and the true meaning of being "normal."

The film culminates in a powerful reconciliation between Rizwan and Mandira, as they

confront their past traumas and reaffirm their love for each other and Rizwan meeting the

President and telling him “My name is Khan, and I am not a terrorist and this is my son Sam

and he was not a terrorist “.

KARTHIK CALLING KARTHIK (2010)

"Karthik Calling Karthik" is a psychological thriller with a significant romantic subplot that

drives the protagonist's journey towards self-discovery and empowerment. The film

introduces us to Karthik Narayan, a socially awkward and introverted young man who works

as an underappreciated employee in a construction company in Mumbai. Karthik harbours

unexpressed feelings for his colleague Shonali Mukherjee, but his lack of confidence

prevents him from confessing them.

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One day, Karthik receives a mysterious phone call from someone claiming to be himself. This

"other" Karthik offers guidance on how to improve his life, encouraging him to assert himself

and pursue his desires, including his romantic feelings for Shonali. As Karthik follows the

instructions, his life begins to transform miraculously. He gains confidence, excels at work,

and eventually wins Shonali's affection.

The romantic subplot between Karthik and Shonali blossoms gradually, with moments of

awkwardness and genuine connection. Shonali is drawn to Karthik's newfound confidence

and authenticity, while Karthik finds solace and joy in her company.

However, as their relationship deepens, Karthik's mysterious caller starts manipulating him,

leading him down a dark path of deceit and manipulation. The caller's true identity and

motives remain shrouded in mystery, adding tension and suspense to the narrative.

Amidst the psychological twists and turns, the romantic angle serves as a beacon of hope and

light for Karthik. His love for Shonali becomes a driving force in his quest for self-discovery

and redemption, as he grapples with his inner demons and confronts the shadows of his past.

The romantic subplot reaches its climax as Karthik confronts the dark truths that have

haunted him for years, including past traumas and unresolved emotions.Karthik uncovers the

truth behind the mysterious caller, realising that it was his own suppressed desires and

insecurities manifesting as an alter ego. Thus he used to call himself every night. Through his

journey of self-discovery and redemption, Karthik learns to confront his inner demons and

embrace his authentic self, ultimately finding closure and resolution in his relationship with

Shonali.

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TAMASHA (2015)

In "Tamasha," the romantic angle intertwines with the protagonist Ved's struggle with

dissociative personality disorder, adding complexity to the narrative and his journey of

self-discovery. The film introduces Ved, a young man who appears to lead a mundane life

conforming to societal expectations. However, beneath his outward facade lies a deep-seated

internal conflict, manifested in his dissociative personality disorder. Ved's disorder causes

him to compartmentalise his identity, creating distinct personas to navigate different aspects

of his life.

During a trip to Corsica, Ved meets Tara, and their romance blossoms amidst the freedom and

spontaneity of their travels. As they fall in love, Ved is drawn to Tara's authenticity and finds

solace in her company, allowing him to momentarily escape the constraints of his disorder.

Their love becomes a source of refuge for Ved, offering him a glimpse of the person he longs

to be.

However, as they return to Delhi, Ved's disorder resurfaces, causing him to retreat into his

shell and distance himself from Tara. Tara, confused and hurt by Ved's sudden change in

behaviour, struggles to understand the complexities of his disorder and its impact on their

relationship.

As Ved grapples with his inner turmoil, Tara becomes determined to break through the

barriers Ved has erected around himself. She stands by his side, offering unconditional

support and encouragement, while also challenging him to confront his fears and embrace his

true self.

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The romantic subplot takes on a poignant tone as Ved's disorder becomes increasingly

pronounced, threatening to derail his relationship with Tara. Despite the challenges they face,

their love remains a guiding light for Ved, inspiring him to confront his inner demons and

strive for self-acceptance.

In the climax, Ved reaches a turning point in his journey of self-discovery, confronting his

disorder and accepting all facets of his identity. With Tara's love and understanding, Ved

embraces his true self, breaking free from the confines of his disorder and embracing life with

newfound clarity and purpose.The romantic angle in "Tamasha" serves as a catalyst for Ved's

journey towards self-realisation.

OBSERVATIONS

1. Role of the Provider

● My Name is Khan

In this movie, Mandira assumes the role of providing for the family and functioning as a

primary breadwinner. She owned a salon of her own in San Francisco, and later moved to

Banville (Hair by Mandira Khan) where Rizwan works as her employee . We also see her

meeting the security needs of Rizwan by providing for him and looking after him. Rizwan

suffering from Asperger's Syndrome is afraid of yellow colour and loud noises. In one of the

scenes there is a tram that is coming towards Rizwan that is yellow and red and colour with

its bell ringing which paranoids him . The crowd soon surrounds him making him even more

scared , it is Mandira who comes to his rescue by protecting him and making him feel safe

33
and comfortable. Thus she becomes a pillar of emotional strength for Khan acting as his

shield.

“Darr gaye? It's okay! Look, Darrne mein koi burai nahi hai bas apne darr ko itna bada mat

bana lo ki wo tumhe aage badhne se rok le”

● Tamasha

Both Ved and Tara are financially independent. In the first half of the movie when Ved and

Tara meet for the first time in Corsica , Tara‘s luggage is lost. Ved lends her his phone and

helps her find her luggage thus acting as a protector in a distant land by being there for her.

But in the other half of the movie, where Ved's alter ego is more prominent, it is Tara who

provides him with emotional security, making him reconnect with his original self, making

him realise how he is trapped in the monotony of life which is very unlike the lively cheerful

guy she had met in Corsica. It’s because of this that Ved realises that he has to take his life

under control and pursue a career in storytelling and direction rather than a corporate job.

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 ● Karthik calling Karthik

When Shonali faces a break up, it is Karthik who comes to provide her with emotional

security and comfort. Both of them are financially independent working in the same

company, but we see how Karthik has been influenced by his alter ego due to which he has

assumed a masculine role in the relationship, not only providing her with emotional security

and listening to her problems and comforting her, but also performing roles like dropping her

home when she gets drunk or taking her to shopping. But in the second half of the movie, we

see that how when Karthik gets disturbed by receiving regular calls from his alter ego telling

him what to do, he gets extremely paranoid and decides to leave the city and attempt suicide.

It is then Shonali steps in to become his shield, takes him to the psychiatrist, listens to his

problems, comforts him in this time, and offers emotional support to him. She understands

his vulnerability and stand as a constant pillar to help him overcome schizophrenia.

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 2. Decision Making Dynamics

● My Name is Khan

There is a balanced power dynamic throughout the movie. Nobody seems to be the sole in

charge of steering the way of the relationship,while Khan and Mandira belonged to different

religions neither imposed their beliefs and faith onto the other person. Household chores are

shown to be equally divided as well where both of them are looking after the domestic needs

and their son Sam in a mutually consented way. Both are understanding of each other’s needs

and requirements in the relationship.

● Tamasha

Decision making dynamics are equally shared . Nobody seems to be dominating the other as

both of them have the agency to choose what they want. For example if Ved proposed to

Tara, she rejected him saying that she doesn’t want to be with a guy whom she no longer

identified with. But when later she wanted to mend their relationship Ved’s alter ego doesn’t

let that happen.

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“tum ho kaun? psychiatrist ho? Mai patient, hun tumhaara? kitna Achcha asar hai tumhari

concern ka ,Dekho main kitna achcha feel kar raha hoon aaj kal thanks yaar” says Ved when

Tara apologises to him.

● Karthik calling Karthik

This movie displays a healthy power dynamic and a healthy relationship overall, where both

the male and the female counterparts are supportive of each other and take care of each other.

They allow each other to make mistakes, Karthik, for example, also helps Shonali to get rid

of her habit of consuming liquor and smoking while on the other hand, it is Shonali, who

recommends Karthik to see a psychiatrist to help him with his condition.

3. Romantic Gestures

● My Name is Khan

The film depicts Rizwan engaging in a display of romantic gestures to express his liking

towards Mandira, be it by getting her , her favourite chocolates and balloons or searching for

a place in the entire San Francisco that Mandira has never witnessed , Khan does it all . In

one of the scenes Khan expresses his desire to marry Mandira, to which she says that if Khan

37
could find a single place in San Francisco, which she had never seen she would agree to this

arrangement. Khan then takes her too many different iconic places which Mandira had

already seen . One day early in the morning he takes her up a hill to show her a mesmerising

view of her favourite San Francisco city, which was nothing like she had ever seen or

imagined . He exclaimed how he had timed the exact moment for six days before bringing

her there. This indicates his deep affection and love towards Mandira and the lengths he

would go for the love of his life.

● Tamasha

Here as here, also Ved is someone who is taking Tara to dates, buying her flowers and

getting her to watch a movie with him, it is him who initiates the proposal for marriage as

well. Therefore, he is the initiator of romantic gestures. At the end of the movie when he

spoke to his family that he was never meant for a corporate job, and that he needs to go find

Tara and tell her exactly how he feels about her and that this Ved who is carefree,

adventurous, life- loving person is the real him . He surprised her by placing the engagement

ring on the rim of a teacup , with a note reading Don Returns on the glass of the office

building . (which was his name that he had told her when they first met in Corsica.)

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 ● Karthik calling Karthik

When Karthik asks her out and Shonali refuses to go out with him , when he mails her she

refuses to chat. He then writes it on a paper to give it to her . When she finally agreed to go

on a date with him. He plans a coffee date out of the city in Khandala and many more

such out -of-box dates throughout the movie . Even though he is a non-drinker, to give

Shonali company in the club even he decides to give drinking a shot. When Shonali is afraid

that he might turn out like the other guys she has been dating , he shows her a list of 1317

mail drafts that he was regularly sending her from the past three years to prove his love for

her.

4. Communication style and emotional expression

39
 ● My Name is Khan

Due to his medical condition. Khan does not physically express love throughout the movie.

He finds it very difficult to express how he is feeling, but he writes it down in his diary from

time to time which he carries everywhere with him. He also expresses how other people are

lucky to be able to cry, while due to his condition, he may not be certainly able to cry or to

express himself very openly. There are certain things written down in his diary that help the

audience to understand him and relate with him especially when it comes to expressing his

love for Mandira.

“Physics ki ek entrainment theory hai jo kehti hai ki kuch khaas awazon se dil ki dhadkan tej

ho jati hain mere liye to Mandira wo awaz hamesha tumhari hasi rahegi”

One of the most repeated lines in the movie expresses what Khan went through on an

everyday basis, being unable to put forward his feelings , love and admiration about

everybody around him be it, his brother who went away to study abroad or new found friends

in Mark ,Sam and Reese’s family.

“ Maine ye baat unse kabhi nahi kahi, keh deni chahiye thi”

After Sam’s death when Mandira asked Khan to leave her home he writes-

“Seene mein ek ajeeb sa dard hua Mandira , Socha ki chest congestion hai , Adarak ka kadha

bhi piya par wo dard kahi nahin gaya Mandira, Abhi bhi hai. “

This might be a peculiar way of representing how he felt, but it did give us an authentic and

unique insight about his feelings and his emotions and the way he perceived pain.

40
After resisting a hug throughout the movie at the end in the hospital, he finally asks Mandira

for it. , Thus finally expressing his affection and desire openly.

Khan - “ Can I get a hug ?”

So we can infer that, even though Rizwan Khan was limited by the means to express his

emotions due to his mental condition, his feelings and emotions were expressed throughout

the movie, in a way that was unique to him and his condition. We got to see his experiences

and vulnerabilities in an organic form.

● Tamasha

Ved does not feel understood in his family and friends due to which he starts to pile up his

emotions within himself, it can be seen that throughout the movie, he communicates with

himself in front of a mirror where polar opposites of his ego converse. It is in this way that

the viewers are able to gauge the battle that is going out in Ved’s mind. It is a very unique

approach to bring about the struggles of somebody who is going through a dissociative

personality disorder and trying to bring a balance in his life.

Thus these conversations occur between a personality, which is his real self, the adventurous,

cheerful- kind, and the other one which is forced upon him in order to act like a man and

fulfil responsibilities of a son .This helps to recognise and acknowledge his struggles and

pain. Helps in getting to understand the character , his challenges and vulnerabilities.

41
This is an example from the mirror conversation that Ved and his alter ego shared after

getting rejected by Tara after proposal.

“Bahut maza aa raha hai?”

“Haan aa toh raha hai”

“Aur jo aage lagne wali hai bahut karari ?”

“Wo to teri lagegi na””

“Sa*le ye din aa gaye ? Ek ladki kya chhod gayi dimag hi kharab ho gaya?”

● Karthik calling Karthik

In the first half of the movie, Karthik communicates his feelings about Sonali, his thoughts

about what is going through his life via draft mails because he’s too afraid shy to share what

he is actually feeling. and because he is bullied by everybody around him. But then we see a

change in the means how he is communicating with himself as he becomes the one that he is

calling himself to give him instructions about how he should act, how he should go about his

day, how he should target the bullies how he pursues Shonali, and deals with his boss . Then

again, when he gets paranoid by this regular caller, he shifts to the medium of mail. It is

symbolic of a repressive form of communication where his vulnerabilities and emotions are

kept to himself only. Even the phone calls represent years of anguish and the battle that he

42
was fighting within himself and against himself but was too scared to express it to anybody

for the fear of getting bullied until later on when he actually tells Sonali about the mysterious

caller.

As the mysterious caller says “ Karthik, everything is perfect but I want you to promise me

one thing , kisi se yeh kabhi nahi kehna ki main tumhe call karta hoon nahin tu tumhen pagal

samajhenge and I don’t want that.”

5. Sacrifice for love

● My Name is Khan

When Mandira decides to move to Banville to open a new salon, Khan persuades her to take

him along, which is somewhat unconventional for a Bollywood film. Khan decides to leave

his brother and sister-in-law to live with Mandira Banville . Not only that when his brother

asks him to not marry Mandira due to religious differences, he leaves his family behind to

marry and start a new life with Mandira and her kid Sam. thus sacrificing his family life and

career opportunities for her.

43
 “Mujhe Bhi Apne Sang Le Chalo Mandira , Main Patla hoon jyada Jagah nahi loonga, Sam

ke Upar Nazar rakhunga, uska Haath kabhi nahin Chhodunga, Dishwasher; microwave;

oven; refrigerator; sab repair kar Doonga, Please take me with you “

● Tamasha

Nobody makes any prominent sacrifices for love . While Tara could have accepted the

marriage proposal because she did love Ved, however, she realised that he was no longer the

same person whom she had met in Corsica . She did not want to sacrifice her life’s happiness

and joy by living with a boring person who had a monotonous life. Instead, she wanted to be

with the Ved she had met in Corsica , who lived a carefree life. But as Ved’s alter ego

confessed this was his real personality the guy she met in Corsica was a made up character ,

so she decided to part ways.

● Karthik calling Karthik

When Sonali realises that Karthik is too obsessed with his caller and does not want to seek

help or see a psychiatrist, she decides that she does not want to be with an unstable man and

sacrifice her life for the sake of love and decides to leave , but later on she realises that she

cannot move on, and she is too deep in love with Karthik and decides to go out of her way to

see his psychiatrist himself And after realising that the problem is major . She decides to go

to Kochi in order to help him and bring his life back on track. Thus, even though she did not

sacrifice herself in order to save the love, she did go at great lens to protect it.

6. Resolution of Conflict

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 ● My Name is Khan

When Sam is murdered due to religious reasons against the backdrop of 9/11 attacks

,Mandira blames Rizwan for the death of their son, claiming that it is because she married a

Muslim man that her son was dead. She asks him to go to every single person in America to

tell them that Sam was an innocent boy and not a terrorist, to go to the President himself and

tell him so. Khan sets on a journey to prove this. He does not involve himself in any sort of

violence or get physical to prove his assertiveness , even though he faced many challenges

like getting arrested on the charges of terrorism, or being stabbed by one of the suspects he

reported to the FBI . Instead takes a heartwarming journey, winning hearts of many people

along the way, helping them and learning lessons of life from them. At the end, he does

finally meet the President . He tells him-

“ My name is Khan and I’m not a terrorist . This is my son(showing a photograph),

Sam. He was not a terrorist “

● Tamasha

The need for resolution arises at the end when Ved has to choose from the life of a corporate

slave or a life in which he is following his passion and is with Tara . He achieves this by

telling a story to his father about a man who is stuck in the cycle of this monotonous life,

45
unable to enjoy himself, and who is almost like a machine programmed to act in a certain

way he was never meant to. Which allows his parents to understand the battle that they had

forced upon their son and how all these years his heart was somewhere else, but he was never

allowed the agency to express himself which had caused him a dissociative personality

disorder. Thus resolution takes place through the medium of story, that helps to empathise

with Ved helping us understand the burden of life that he never expressed openly and how it

had killed the real person inside him. Finally, his family finally accepts to let him pursue his

passion. His first play features a robot who has been programmed to say certain things and

clown, who is carefree and full of life, to explain the dichotomy of Ved’s life in a creative

and unique manner.

● Karthik calling Karthik

While the mysterious caller us firsts help Karthik to get a control over his life and pursue

Sonali he eventually gets very involved in Karthik’s life because of which Karthik starts

getting paranoid as everybody around him, tell him that this caller is a just part of his

hallucinations. Karthik is shown to be extremely vulnerable and disturbed by this thought.

When Karthik shares the secret of the caller with his psychiatrist and Shonali, the caller

decides to get revenge on him by spending all the savings (15 lakhs ) that he had in his

46
account and by calling his boss and Shonali to say some things which get him both fired and

dumped at the same time .Karthik is so scared of this caller that he decides to move to Kochi

and live in an apartment where there is no telephone connection, but when he has to get a

telephone connection in his new job, the mysterious caller calls again and Karthik decides

that he cannot take this any further and decides to attempt suicide. The resolution occurs in a

very vulnerable way where Karthik is not violent towards this caller , but he feels extremely

vulnerable and sensitive that he is tempted by the thought of death as Nobody around him

would understand what he is going to so he finds his solace in sleeping pills .However, Sonali

ends up getting a hold of him and helps hims to get past this trauma.

CONCLUSION

It can be concluded that the power dynamics are well shared between the male and the female

counterparts in all the movies where both of them mutually decide the course of their

relationship. While it's the man who is responsible for the romantic gestures, It is the female

who understands and helps them overcome their problems thus providing them with

emotional security and protecting them from the societal expectations which they

are unable to fulfil due to their mental conditions. While the females in the films might not

sacrifice their career for the men and the family life, they do go at great lengths to seek

emotional stability and a ‘normal’ life for the male protagonist as well as a healthy and

47
loving relationship with both of them . The communication portrayed happens in a very

unique manner considering the uniqueness of the conditions and narrative, but the resolution

at the end of each movie is brought about with the help of the female protagonist helping the

men to fight their battles thus steering forward the course of their relationship.

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 Chapter Five: Conclusion

The aim of this research was to analyse the representation of men with psychological

disorders in Bollywood movies of romantic genre. For this, the researcher employed textual

analysis in order to gain an understanding of how the idea of masculinity negotiates in social

context when the male protagonist is plagued by some mental conditions in the films.

It can be observed that the construction of masculinity was not tainted by the societal

constructs and rigid patriarchal norms . In all of these films agency was given to the male

protagonist to be expressive of their feelings and emotions. They were vulnerable, sensitive

and fragile which corroborates with the experiences that people go through when suffering

from a mental condition.

The desire and affection expressed by the male protagonist, mainly consisted of romantic

gestures and planning dates. They communicated their feelings about their love in a very

different and unique way. Be it by writing, for example, in My Name is Khan or Karthik,

calling Karthik , or by talking to themselves like in Tamasha. but all of these methods

expressed their unspoken battles. Thus the male protagonist was not necessarily an infallible

hero.

Thus the portrayal of men and their experiences was not framed in stereotypical traditional

hierarchies and patriarchal norms. However, it can be observed that there is a constant

renegotiation with the patriarchal norms as all the men were the ones who were taking charge

of romantic pursuit and proposal but for the most part, a balance was maintained as even

49
decision-making was mutually shared between the protagonists. So, it can be inferred that the

power dynamics for the most part did not adhere to usually understood social constructs .

Sacrifices for love were not made by the female protagonist, which is a very common theme

in other Bollywood movies .

When faced with a conflict at the end of the movies, all the men , sorted help and depended

on the female protagonist to help them overcome the problem that occured because of their

respective mental conditions. This is unusual for a Bollywood movie where the ‘ hero’ is

dependent on the female counterpart, and the female counterpart actually has more agency

rather than just being sexually objectified . The female protagonist was the one providing

emotional security and stability.

However it could be argued that they were essentially playing the role of a nurturer in this

relationship, being the one taking care of the male protagonist. So while women were

providing and protecting the male protagonist, they were simultaneously also functioning as

a nurturer, which is the stereotypical trait attributed to the female characters in Bollywood

films. Thus this becomes a part of complex negotiations about whether the Women were

nurturers in these films or were they playing the role of protector and provider , adjectives

that are usually associated with a stereotypical idea of a “hero”.

The expression of masculinity was not governed by display of violence, anger or dominance.

A dive into the struggles of men in the movies was taken, which helped to understand the

complexities of life faced by so many men and people in real lives that go unnoticed on a

regular day basis. All the three films did not portray men as being unaffected or indifferent to

50
their conditions. However, these men were the hero of the story, the main driving force of the

story, which would again point towards women being relegated to a secondary role and not

having the agency to be central to the plot. But it can be argued that there were variations in

the representation of these heroes. They were not traditional heroes in the sense that they

were not fearless ,infallible, fierce , independent and strong. It is not wrong to say that these

films helped to contribute to the evolving idea of a ‘hero’. So while Rizwan , Ved and

Karthik are heroes of their story, these heroes are suffering . They do not have everything

figured out. They are not larger than life figures, which is usually the case in other

Bollywood films as discussed before. So it can be observed that patriarchal norms and

societal gender constructs did not altogether dictate the representation of male experiences in

these films .

While some areas such as depiction of romantic gestures the portrayal is entirely similar to

the other Bollywood films where it is the male undertaking the duty of impressing the female

counterpart which seems to be governed by stereotypes. In other areas such as Power

dynamics, sacrificing for love and resolving the conflicts, the male and the female

counterparts come together in a way which emphasises the equality of roles in a relationship.

Very unusual is these films portraying those emotions of a man which are usually stigmatised.

These men are shown to be vulnerable, scared, dependent, and uncertain which is

unconventional for a Bollywood film as it doesn’t align with the popularly understood idea of

patriarchy. So it can be understood that these films' narratives were constantly negotiating

between other adherence to gender norms and breaking away from it.

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But even though these films are not completely free of dependency on patriarchal norms,

gender norms and societal structures, these are reflective of an effort to rework the commonly

understood ideas of masculinity and contribute to an evolved understanding of a ‘hero’.

For the cinematic effect, there were usage of some other elements be it in the form of songs,

sound effects or visual effects, but essentially these did not distract from the portrayal of the

male protagonist or caused a hampered understanding of their condition and experiences.

These films did not sensationalise the topic of mental health conditions and dealt with it in a

very mature way .

Scope for further Research

If given the time the researcher would look further into the cinematography that would have

added meaning in the construction of ideas and the narrative arc via the composition of the

scene and mise-en-scene. The researcher would look into the type of shots used, sound

elements, music , camera angles, lighting, tone, mood, and colour that might have been used

to further enrich the movie in a certain way. The researcher could further look into other such

movies produced in other cultures that are not part of Bollywood that feature a similar

discourse.

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 Chapter-6 : Bibliography

Books, e-books and Journals

Sidhar Wright, N. (2015). “Bollywood and Postmodernism: Popular Indian Cinema in the

21st Century”, Edinburgh University Press.

Saks, E. R. (2007). “The Center Cannot Hold: My Journey Through Madness” , Hyperion.

Hornbacher, M. (2008). “Madness: A Bipolar Life”, Mariner Books.

Garfield, R. (2019). “Breaking the Male Code: Unlocking the Power of Friendship”

,TarcherPerigee.

Real, T. (1998). “I Don't Want to Talk About It” , Scribner.

Sacks, O. (1985). “The Man Who Mistook His Wife for a Hat” , Simon & Schuster.

Bhugra, D. (2006). “Mad Tales from Bollywood:Portrayal of Mental Illness in Conventional

Hindi Cinema” ,Taylor & Francis.

Regev, S., & Josman, N. (2020). Evaluation of executive functions and everyday life for

people with severe mental illness: A systematic review. Schizophrenia Research: Cognition,

21

https://doi.org/10.1016/j.scog.2020.100178.

Boysen, G. A. (2017). Explaining the relation between masculinity and stigma toward

mental illness: The relative effects of sex, gender, and behavior. Stigma and Health,

2(1), 66–79

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https://psycnet.apa.org/doi/10.1037/sah0000041

Sohini, C. (November, 2020). “Bollywood on the brain: Gender and mental health in

Hindi cinema”, 939-942

https://doi.org/10.1016/S2215-0366(20)30428-4

Pitkänen, A., Hätönen, H., Kuosmanen, L., & Välimäki, M. (2009). “Individual quality

of life of people with severe mental disorders. Journal of Psychiatric and Mental

Health Nursing”, 16(1), 3-9.

https://doi.org/10.1111/j.1365-2850.2008.01308.

Websites

https://www.medicalnewstoday.com/articles/mens-mental-health

https://timesofindia.indiatimes.com/entertainment/hindi/web-stories/10-bollywood-mo

vies-that-broke-stereotypes/photostory/83891143.cms

Films

My Name is Khan

https://www.amazon.com/My-Name-Khan-Shah-Rukh/dp/B003S5K8GK#

Karthik calling Karthik

https://www.netflix.com/in/title/70134537?s=i&trkid=0&vlang=en&clip=8121796

Tamasha

https://www.netflix.com/in/title/80087743?s=i&trkid=258593161&vlang=en

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