Hindi Cinema and its age-old obsession with romance has influenced countless cinema lovers and people in terms of how they view romance in their own personal lives. There are a variety of tropes portrayed in romance, from grand Yash Raj romances to subtle yet philosophical Imtiaz Ali ones. Films made under the banner of Bollywood have refused to steer away from depicting romance in their storylines and plots, regardless of whether they are classified as crime, sci-fi, action, or thriller in terms of genre. When asked the reason behind this, most directors and filmmakers say that the industry will keep making only what the audiences keep watching.

Everyone likes to watch films with flowery romances between their beloved stars on screen, as an escape, even more so in a culture where arranged marriages are the only way to go and conversations surrounding love, romance, sex and intimacy only transpire behind closed doors. Bollywood romances surely are an immersive experience when watched in the cinema theatre for those 2-3 hours, but where it becomes slightly problematic is when you take home the unrealistic expectations they portray. Whose heart doesn’t beat each time our all-time favourite, dimpled-cheek, Shah Rukh Khan appears on screen with his charming ability to swoop you off of your feet for decades now. However, you also cannot help but squirm a little in your seat when you see someone who is twenty years younger, being romanced by him, but this real-life age gap between actors has been normalised for so many generations that it ends up falling outside the scrutiny of the audiences, although it is right in front of their eyes.

Heterosexuality is at the core of Bollywood romances layered with hypermasculine male figures along with the classic trope of the woman trying to “fix” her love interest. This portrayal reflects societal norms and expectations, perpetuating certain stereotypes about gendered roles in relationships. Karan Johar, a director renowned for his penchant for clichéd tropes, epitomizes the ostentatious and sentimentally charged style prevalent in Bollywood. Films such as “Kuch Kuch Hota Hai” and “DDLJ” (Dilwale Dulhania Le Jayenge) exemplify Johar’s tendency to delve into the complexities of modern relationships while relying heavily on grand gestures and melodrama reminiscent of classic Bollywood romances.

Similarly, Imtiaz Ali has carved a niche for himself with his introspective and ostensibly profound approach to love stories, evident in movies like “Jab We Met” and “Rockstar”. Ali’s narratives often revolve around characters grappling with existential quandaries and inner conflicts, purportedly adding depth and realism to their romantic escapades.

Nikhil Advani, another prominent figure in the industry, attempts to infuse his romantic dramas with a semblance of realism by addressing contemporary issues within the framework of love stories. However, films like “Kal Ho Naa Ho” and “Hasee Toh Phasee” often fall short of delivering genuine social commentary, merely scratching the surface of the complexities of relationships in modern India.

Meanwhile, Yash Raj Films, a stalwart in the Indian cinema landscape, has built its reputation on iconic romances such as “Dilwale Dulhania Le Jayenge” and “Chandni”, setting a standard for timeless love stories. Yet, the studio’s formulaic approach often leads to predictable narratives lacking innovation or depth.

Masters of visual spectacle, Mani Ratnam and Sanjay Leela Bhansali, craft elaborate love sagas set against breathtaking backdrops. Ratnam’s films like “Roja” and “Dil Se” attempt to intertwine love with political turmoil, though sometimes succumbing to narrative convolution. Meanwhile, Bhansali’s epics like “Bajirao Mastani” prioritize opulence and passion on an extravagant scale over narrative coherence, leaving the substance of the stories overshadowed by their visual grandeur. However, there is a problem of lack of representation from the storyteller’s point of view as the people dominating the Hindi film industry are primarily cis-het male figures.

Despite the diversity in storytelling approaches, Bollywood romances often present an idealized version of love, characterized by grand gestures, elaborate musical sequences, and happy endings. While this escapism is undoubtedly enchanting, it can also foster unrealistic expectations about love and relationships. The portrayal of love as a magical cure-all for life’s problems can sometimes overshadow the complexities and challenges inherent in real-life relationships.

Moreover, the predominantly heterosexual narratives in Bollywood romances often overlook the experiences of LGBTQ+ individuals, perpetuating invisibility and erasure within mainstream cinema. While there have been efforts to diversify representation in recent years, there is still much ground to cover in terms of inclusive storytelling and representation of diverse identities.

As audiences evolve and demand more authentic and inclusive narratives, directors and filmmakers are beginning to explore new avenues within the realm of romance. Films like “Shubh Mangal Saavdhan” and “Ek Ladki Ko Dekha Toh Aisa Laga” have started conversations about LGBTQ+ love and acceptance in mainstream Bollywood. Moreover, filmmakers like Zoya Akhtar, Konkona Sen Sharma and Neeraj Gheywan are engaging in creating cinema that is layered with issues of caste, gender & sexuality, the good part about their films is that they do not make these topics the primary focal point of their films and very beautifully fold them into the different angles of their storytelling. Such an approach contributes towards normalising the seeping in of such kind of cinema amongst audiences. Whereas the above-mentioned films may signal a shift towards more inclusive storytelling, there is an urgent need to indulge in a different gaze of creating cinema, which means including increasing perspectives of women, queer and trans folks, be it behind the lens or in front of it.

Thus, the age-old obsession with romance in Hindi cinema has left an indelible mark on audiences, shaping their perceptions and expectations of love and relationships. While Bollywood romances provide a captivating escape into a world of grand gestures and eternal love, they also reflect and reinforce societal norms and stereotypes. As the industry continues to evolve, there is a growing need for more diverse and inclusive narratives that reflect the rich tapestry of love in all its forms. Only then can Bollywood truly capture the complexities and nuances of romance in all its glory.

As the Indian film industry grapples with the challenges of the digital age and changing audience preferences, the future of romance in Bollywood remains both exciting and uncertain. However, one thing is certain: the enduring influence of romance in Hindi cinema will continue to shape cultural narratives and inspire generations of cinephiles for years to come. Whether it’s the iconic dialogues, the timeless melodies, or the epic love stories, Bollywood romances have carved out a special place in the hearts of millions, proving that love truly knows no bounds, on-screen and off.

On a more personal note, being a student of a subject like Gender Studies and also on the other hand being a die-hard cinema lover, it is like co-existing with two extremes and I often find myself at a crossroads of picking my poison between the two.

As a student of Gender Studies, I am constantly analyzing and deconstructing the narratives and representations of gender, sexuality, and relationships in various forms of media, including Hindi cinema. From critically examining the power dynamics between male and female characters to questioning the heteronormative tropes perpetuated in romantic narratives, my academic lens offers a deeper understanding of the complexities underlying Bollywood romances. For eg, if we talk about the depiction of sexual assault in movies, it is largely shown in a way where the female being violated is shown, and her screams are heard, which is triggering for many people who may have gone through that trauma in real life and it also makes it seem like it was the woman’s fault that she landed in that situation. However, offering a fresh change in this depiction was the movie “Guilty” on Netflix, where there was a rape scene being shown but here the male perpetrator’s face was shown and his voice was heard, which reinforced that rape is not the woman’s fault.

However, as a passionate cinema lover, I also find myself swept away by the enchanting world of Bollywood romance. The allure of grand gestures, epic love stories, and mesmerizing musical sequences is undeniable, offering a temporary escape from the realities of everyday life. Yet, with my academic background, I am acutely aware of the potential pitfalls of romanticized portrayals of love and relationships on screen, namely – a lack of accountability for problematic and abusive behaviour, reinforcing gender-based violence and stereotypes, lack of diversity in terms of telling stories of the marginal groups of society.

At times, I find myself torn between these two conflicting perspectives, where I recognize the need to critically engage with these narratives and challenge the underlying assumptions and stereotypes they may perpetuate.

For instance, while I may be swept away by the charm of Shah Rukh Khan’s iconic romantic roles on screen, I am also mindful of the broader implications of portraying hypermasculine male figures and the trope of the woman as the “fixer” of her love interest. These portrayals perpetuate the idea that controlling behaviour is a sign of love, burdening women with the responsibility of managing men’s emotions and behaviour, making it harder to recognize and address abusive behaviour.

As I navigate the complex terrain of Bollywood romances, I am constantly grappling with questions of representation, agency, and power dynamics. How can we celebrate the beauty and magic of romance in cinema while also challenging harmful stereotypes and promoting more inclusive narratives? How can we strike a balance between escapism and critical engagement when consuming romantic media?

Ultimately, I believe that my dual perspective as both a student of Gender Studies and a cinema lover enriches my understanding of Bollywood romance. While I may find myself at a crossroads at times, torn between these two extremes, I am also empowered to critically examine and appreciate the complexities of love and relationships depicted on screen. In doing so, I hope to contribute to a more nuanced and inclusive portrayal of romance in Hindi cinema, one that reflects the diverse realities of love in all its forms.