This Diwali “Women in Bollywood” celebrates with a five-part special, discussing the subject of heroine-oriented comebacks, that is, after actresses have taken some time away from the big screen and attempt a successful return.
As these breaks have typically, although not exclusively, coincided with developments in the personal lives of the heroines in question, the success or failure of these films have a wider implication in terms of a popular culture representation of changing societal expectations and acceptance of a woman’s continued career ambitions after marriage and childbirth, as well as opinions (changing or otherwise) on the compatibility of a maturing woman and the escapist glamour of commercial cinema.
That many of the films that witness an actress’ return to cinema after a multi-year break are heroine-oriented, this adds an extra level of relevance within the scope of this blog.
Notably, the actress Kajol’s two “comebacks” saw her star alongside Aamir Khan in 2006’s “Fanaa”, and her long-term co-star Shah Rukh Khan in 2015’s “Dilwale”. Her roles were prominent but responsibility for the box office draw was shared with a major hero who had led a recent blockbuster hit.
This 5-part series will look rather at cases where the box office draw was left in the hands of a heroine absent from Hindi films for several years, and will discuss in each case – what worked, what didn’t and what could have been changed in terms of increasing the film’s success and positive reception.
Through these 5 films, released all in the last 10 years and showcasing a major heroine, a verdict will be reached on the premise of whether a heroine-oriented comeback is “cursed” or doomed to fail.
- Start with part one of this series on Madhuri Dixit’s 2007 comeback “Aaja Nachle”
- Check out part two of this series on Preity Zinta’s return in 2013’s “Ishkq in Paris”
- Or jump to part three of the series on Aishwarya Rai Bachchan’s 2015 comeback “Jazbaa”