Rocky Aur Rani Ki Prem Kahani — Portrayal of Modern Feminism (2024)

As I sit down to write this article, I find myself on a pleasant Saturday, a day that holds a special place in my life. Saturdays have become significant because it’s the day my roommate and I set aside to spend quality time together. Our tradition revolves around bonding over a television show or even a movie, an activity we affectionately refer to as our “quality roommate time.” Saturdays hold a unique allure for me, especially since the rest of the week tends to be rather mundane due to the demands of being a student. To put it in simple terms, Saturdays are the days I have fun. But due to the rising inflation and this harsh economy that we live in, having fun often comes at a cost, but I’m grateful for my parents’ Amazon Prime subscription, which allows me to enjoy quality entertainment without breaking the bank. So, like any typical Saturday, my roommate and I decided to watch something entertaining. To our delight, we discovered that the new Karan Johar movie, “Rocky aur Rani Ki Prem Kahani,” had finally become available on Prime.

My anticipation for this film was particularly high, as the movie’s PR team had done an exceptional job of generating excitement among the audience. Multiple newspaper articles were published about the movie and how it was breaking the norms set by Dharma Productions. I also had the opportunity to watch the leading actors’ interviews on various talk shows, where they discussed important themes like feminism, gender equity, etc—in addition to this Alia Bhatt’s choice of sarees in the film also captured the audience’s attention, bringing the desi charm back in style. Personally, I was eager to see Ranveer Singh in action, as he consistently delivers outstanding performances, although I acknowledge my potential bias.

If you are anything like me and love Bollywood films, you would know the essential role played by Dharma Productions and Karan Johar in the curation of Bollywood films. Dharma movies are often associated with masala music, an abundance of cheesy jokes, and occasionally weak plotlines. However, what typically rescues a Karan Johar film is the chemistry between the lead actors. With “Rocky aur Rani,” I expected a similar trajectory. Nevertheless, I was pleasantly surprised by Alia Bhatt’s portrayal of Rani. Historically, Dharma Productions, under Karan Johar’s guidance, have often been depicted as more traditional, “sanskari” women. It was unexpected to see Alia’s character as Rani, a strong and independent woman who is fully aware of her rights. She comes from an open-minded, artsy background, and she provides a vivid representation of what a strong, empowered woman should be. However, the movie didn’t delve into the depth of her career or her passions. On the other hand, Ranveer’s character, Rocky, represents a wealthy young man with a twist. He is the embodiment of what a self-proclaimed crazy rich Indian might look like. As the heir to the 2000 crore Dhanlakshmi Sweets empire, he hardly seems like an easy task to handle. He exudes a body-flaunting, overconfident, and energetic persona, albeit with a touch of difficulty when it comes to English.

These two very distinct individuals cross paths and love blossoms. The circ*mstances of their initial meeting raised some concerns for me, as they came together to orchestrate a reunion between their grandparents, whose past affair serves as the backdrop of the story. While this premise may appear problematic, it’s not the only aspect of the film that left me with reservations. Examining the writers behind “Rocky aur Rani,” there are three individuals responsible for shaping the storyline. The story portrays a striking juxtaposition of women in two distinct households. Within the Randhawa family, women are often portrayed as meek and oppressed by their matriarch, Dhanlakshmi Randhawa, the owner of Dhanlakshmi Sweets (Rocky’s grandmother). Ironically, it showcases how women can sometimes perpetuate patriarchal values. In contrast, the women of the Chatterjee family are independent, embracing their free will, and living life on their own terms.

As the film’s narrative unfolds, Rocky and Rani decide to temporarily switch households for three months to immerse themselves in their future in-laws’ cultures, as they are planning to get married. This decision initiates a shift in mindset within both families. Rani’s entry into the Randhawa family encourages the subdued women to pursue their dreams and raise their voices against injustice. Rani empowers Rocky’s mother, Punam, to pursue a career in singing and teaches his sister to stand up for herself. Rani’s influence helps Rocky’s sister realize that she isn’t “Golu” anymore but “Gayatri.” However, what is left unspoken is that Rani’s empowerment comes from a place of privilege, allowing her to exercise agency over her body, sexuality, finances, and more. This is not addressed adequately, as it oversimplifies the complex issue of breaking free from patriarchal norms.

In the film, Rocky’s father, Tijori Randhawa, echoes the stern chauvinism reminiscent of Yashvardhan Raichand from “Kabhi Khushi Kabhie Gham,” wielding authority over his family. On the other hand, Rani’s father, Chandon Chatterjee, is a professional Kathak dancer who moved to a new city to support his working wife, a senior English professor. The film challenges society’s judgment of men who dance as effeminate and celebrates the idea that art has no gender. However, it falls short by not addressing the implications of dance, even when associated with females. For instance, the term “mujara” is sometimes used to describe women dancing in front of an audience, highlighting broader issues related to gender and art that the movie could have explored.

However, the general audience has chosen to blissfully overlook these issues, heralding this movie as a groundbreaking venture in smashing gender stereotypes. I won’t deny that the movie has made commendable efforts to break down these barriers and render these issues more accessible to the masses. My concern, however, lies in the approach taken. If you’re going to address such issues, it’s essential to delve deep into them rather than just scratching the surface. Dharma Productions previously faced criticism for inadequate female representation which they seem to compensate by showcasing feminism to an excessive degree. Several scenes exemplify this, for instance, when Rani insists on hugging Shomen. Initially, this scene appears harmless, but reversing the roles raises questions about whether Shomen forcing Rani to hug him, especially when he’s intoxicated, might be considered harassment.

Another scene involves Rani’s mother taking Rocky lingerie shopping and asking him to try on a bra in front of the entire store. While the speech delivered by Rani’s mom about the lack of shame in wearing a bra is important, the context in which it occurs feels flawed. Even as a woman, I would feel uncomfortable trying on male boxers in such a public setting. Lastly, there’s a scene where Rani publicly pushes Rocky’s father. The issue here is that if a man had done the same, it would likely be seen as a significant problem. This film essentially swaps morally questionable actions usually associated with men and attempts to normalize them when performed by women. This approach is frustrating because it doesn’t equate to feminism; instead, it perpetuates problematic behavior. What could have been done by the writers was to focus on how Rani reclaims power from the patriarchy through her career and her love for her job. They could have depicted her journey, her drive, and her determination, rather than relying on speeches about feminism. This way, the film could have provided a more nuanced and authentic portrayal of female empowerment.

The movie had all the ideas that would make it a great film but it fell short in execution. While it provided a thought-provoking perspective on gender roles and patriarchy through the characters of Rani and Rocky, the film overlooked the underlying privilege in Rani’s empowerment and sometimes overcompensated with an excessive display of feminism. The missed opportunity to delve deeper into gender-related issues was disappointing. Rather than relying on surface-level speeches, the movie could have offered a more authentic and nuanced portrayal of Rani’s journey, career, passion, and determination. However, the film did shed light on gender dynamics and empowerment, highlighting the complex journey toward gender equality. As my roommate and I wrapped up our movie night, that day we reflected on the film’s portrayal of modern feminism, sparking a thoughtful conversation about the evolution of gender roles in Bollywood and society. It was yet another enriching “quality roommate time” experience, reminding us that movies can be more than just entertainment; they can be catalysts for meaningful discussions and introspection.

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Writer: @krishabalsarkar

Editor: Mouli Rambhia