In Hollywood there is a trend of heroines who when they enter into the
age bracket of thirties and even forties take the lead in carrying the
films on their shoulders with their co-stars brand value at the box
office not holding an element of importance, rather the whole package
riding on the brand equity of the heroine making an impact at the box
office, and Angeline Jolie, Salma Hayek, or even Sharon Stone, being the
illustrious flag-bearers in this category.
In the Hindi film industry this kind of slotting was available to a
certain extent in the art film genre, but the genre was not an important
entity in the commercial space. In the commercial space, for quite a
long time the heroines were heroines till they were married and after
marriage they either used to walk into the sunset or started appearing
as mothers, sisters etc. But the times are changing in India as well,
and the lead is being taken by the breed of female actors who created
new paradigms of acting on the silver screen on acting and the shining
luminaries include, Bipasha Basu, Karisma Kapoor, Sridevi, Preity Zinta,
and Rani Mukerji.
And each of these actors is getting a chance to experiment with the
roles, Karisma Kapoor with DANGEROUS ISHQ entered into realm of rebirth,
Bipasha Basu with RAAZ 3 seems to be carving a niche for herself in the
era of horror laced with ample doses of sexuality to titillate and
scare the with out- sexy and dangerous, while Sridevi is perhaps
pandering to the national sentiments and enacting a role in ENGLISH
VINGLISH that would be a song for the diaspora- especially the spouses
who have face existentialist questions when they arrive in lands where
English is the mother language. In the same manner, Preity Zinta perhaps
wants to underline the fact with ISHKQ IN PARIS that finding love is
not a phenomenon that is restricted by age, and Rani Mukerji in AIYYAA
plays the role of a stalker, an act which otherwise was played by the
male of species in the world of cinema.
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