Bollywood has long been celebrated for its vibrant storytelling, encompassing a myriad of genres. However, when it comes to comedy—a genre that thrives on societal reflections and nuances—the spotlight has predominantly shone on male protagonists. This male-centric narrative raises pertinent questions about the representation and participation of women in comic roles within Bollywood.
The male-dominated landscape of Bollywood comedy
Historically, Bollywood’s comic realm has been dominated by male ensembles. Iconic films like Hera Pheri (2000), Dhamaal (2007), and the Golmaal series (starting from 2006) predominantly feature male leads driving the narrative and humour. These films, while immensely popular, often relegated female characters to peripheral roles, serving as romantic interests or mere catalysts to the male-driven plotlines.
A mixed-methods analysis of recent ensemble comedies in Bollywood reveals a glaring underrepresentation of women in comedic roles. The study highlights that women are largely under-represented in this genre; only one film in the sample, Fukrey (2013), had a female comic personality.
Trade analyst Girish Wankhede shared, “Historically, the success of male-led comedies can be attributed to the star power of established actors and the franchise value they bring. Films like Munna Bhai MBBS and Oh My God! not only enjoyed box office success but also became iconic, largely due to their charismatic male leads and engaging storylines. However, as audiences evolve, there is a growing appetite for stories that center around female experiences, humor, and camaraderie.”
Elaborating further, he added, “While India is still maturing in this context, the recent successes of films like Bhool Bhulaiyaa 2 and Stree 2 suggest that there is ample room for growth in the female comedy franchise space. The key lies in crafting stories that resonate with the audience while also showcasing the unique experiences and challenges faced by women.”
“The time is ripe for filmmakers to explore the creation of female-led comedy franchises in India. By taking cues from successful films like Kahaani and Lipstick Under My Burkha, creators can develop narratives that highlight strong female protagonists, their journeys, and the humor that arises from their experiences,” he added.
Stereotypical portrayals and limited agency
When women do appear in Bollywood comedies, their portrayals often adhere to entrenched stereotypes. A study analysing the portrayal of women in Bollywood adult comedies found that female characters are frequently depicted through attributes, attire, and mannerisms that align with traditional feminine stereotypes. These portrayals often lack depth and fail to resonate with the complexities of real-life women, thereby limiting the scope of their comedic potential.
Moreover, the portrayal of women in Bollywood cinema has been a subject of critique, with studies indicating that female characters are often confined to roles that do not accurately reflect their real-life counterparts. This misrepresentation not only perpetuates stereotypes but also restricts the narrative agency of women in films.
The Hollywood comparison: A different narrative
In contrast to Bollywood, Hollywood has made more significant strides in the realm of female-driven comedy. Films like Bridesmaids (2011), Girls Trip (2017), and Booksmart (2019) have successfully featured female-led ensembles, breaking away from the conventional notion that comedy is predominantly a male domain. Actresses like Melissa McCarthy, Tina Fey, and Amy Poehler have built successful careers in comedic roles, showcasing a broader acceptance of women as leading comic figures.
While Hollywood is not devoid of gender disparities, the industry has provided more opportunities for female-driven comedic narratives compared to Bollywood. The global success of female-led comedies in Hollywood proves that audiences are receptive to such stories, a lesson Bollywood could incorporate into its evolving cinematic landscape.
“The Hollywood landscape provides a wealth of inspiration for creating successful female-led comedy franchises. Films such as Bridget Jones’s Diary, Miss Congeniality, Charlie’s Angels, and Mean Girls have established a legacy of female-driven narratives that blend humor with relatable themes. These films have shown that audiences can connect with female characters who are flawed, funny, and multifaceted,” Girish said.
The emergence of female-centric narratives in Bollywood
Despite the historical marginalization, there has been a gradual emergence of female-centric narratives in Bollywood. Films like Queen (2013), Kahaani (2012), and Tumhari Sulu (2017) have showcased women in leading roles, navigating their journeys with humour and resilience. However, these instances remain sporadic, and the comedy genre, in particular, continues to be dominated by male perspectives.
The seed for inclusive storytelling
The underrepresentation of women in Bollywood comedies is not merely a matter of screen time but reflects deeper societal perceptions about gender roles and humour. Embracing female-centric comedic narratives can challenge these stereotypes, offering audiences diverse perspectives and enriching the comedic landscape.
Filmmaker Ramesh Taurani said, “The script has to be mind blowing. We have made ‘Kya Kehna’ in 1999 when there were no multiplexes. Whether it is comedy, drama or action script, it has to be extraordinary. In today’s time, Alia Bhatt, Kiara Advani, Janhvi Kapoor, Kriti Sanon, Deepika Padukone and Kareena Kapoor will be the best options for female-centric comedy movies.”
Screenplay writer Gajra Kottary shared, “Across the board, I think the pressing need for women to look good at all times, through all emotions, is by itself a great limiting factor in making actresses go all out for comedy and in writing their parts compared to men. Thankfully, now that disability and body shaming are passé, comedy needs to arise more naturally from the situations a character is placed in and their responses to it. It has become more of a language thing, where humour can stem from accents, dialogue, and sheer wit in repartee. Writing for female characters now is fun because it no longer feels contrived.”
She added, “Much like how the vamp or item girl has lost significance as a special character—since male and female actors themselves now portray what is evil or sexy—the same applies to comedy. A heroine, protagonist, or any important character can now be placed in an amusing situation and deliver an amusing response without necessarily being labeled a comedian.”
“Films and OTT platforms have embraced this change in both writing and acting, but television still largely writes funny and weird characters separately into the script. I am not a great fan of writing for such shows. However, I have immense admiration for female stand-up comedians who largely write their own scripts—often intelligent comedy and satire”, Kottary said.
Shedding some light on challenges pitching a female-centric comedy script, Gajra said, “Personally, I haven’t faced any problems pitching such scripts to OTT and film producers or studios. Since the comedic parts are organically woven into the plot and characters, producers and platform representatives can see that the humor is contextual. I believe OTT offers the best environment for this, as most OTT shows are realistic and depict comedy in a natural way. For instance, a female character can be a regular person who naturally invokes laughter without being labeled a comedian—because real people don’t walk around trying to be funny all the time.”
She continued, “In films, however, there are different types of writing. Some still follow conventional tropes, some are middle-of-the-road commercial, and others are realistic—so there’s a wide range. My complaint is with television, which still operates the way cinema did decades ago. It needs to grow and evolve.”
Opportunity on OTT
Producer Tanuj Garg told ETimes, “Female-led comedies are an easy greenlight for OTT. In fact, OTTs have been commissioning incredible female-led material in recent years. A solid female comedy even has great theatrical potential. I don’t see any challenges per se, so long as the budget is right. That said, the point on budget is applicable for any project.”
Gajra highlighted, “Streaming platforms have played—and can continue to play—a crucial role in transitioning comedy from the female perspective, as they are more conducive to experimentation both creatively and commercially. I think platforms can encourage writers to craft stories that highlight life’s ironies and amusing situations in an authentic, slice-of-life manner, showing female characters navigating real challenges.”
She added, “As women transition from stereotypical roles and reposition themselves in society, they naturally encounter humorous situations, both for themselves and those around them. Addressing such subjects gives the audience—who spends more time engaging with streaming content than with theatrical films—both entertainment and food for thought.”
“Comedy doesn’t need to be frivolous, and it shouldn’t be. OTT platforms could help writers experiment and create unconventional, quirky female characters who make audiences laugh and think at the same time,” Kottary shared.
Financial hurdle for female-centric projects
Girish Wankhede weighed in, “In the vibrant and ever-evolving landscape of Bollywood, the challenge of securing investment for female-centric comedy films is a significant hurdle. While there is a growing recognition of the potential for success in this genre, many producers remain hesitant to take risks on projects that deviate from established norms. This hesitance is rooted in a complex interplay of market dynamics, audience preferences, and the historical performance of films.”
He elaborated, “The success of male-led comedy franchises such as Hera Pheri and Housefull has created a template that many producers are reluctant to deviate from. These films have not only garnered immense box office success but have also built a loyal fan base over the years. The formula of male camaraderie, humor, and star power has proven to be a reliable investment strategy for producers, making them wary of exploring uncharted territories, especially those centered around female narratives.”
Wankhede further shared, “Producers are inherently risk-averse, particularly in an industry where financial stakes are high. The historical data suggests that while there have been successful female-led films like English Vinglish and Queen, the overall ratio of successful female-centric comedies remains lower compared to their male counterparts. This disparity often leads producers to prioritize projects that align with the tried-and-true formula of male-led comedies, which they believe are more likely to yield a favorable return on investment.”
“Moreover, the perception that female-led films may not attract as broad an audience as male-led ones contributes to this reluctance. Producers often fear that the market for female-centric comedies is limited, leading them to shy away from investing in these projects. While there have been notable successes in the realm of female-centric films, such as English Vinglish and Queen, these instances are often viewed as outliers rather than indicative of a broader trend. Films like Ragini MMS, despite their unique narratives, may not have achieved the same level of acclaim or box office success, reinforcing the notion that female-led comedies are a risky proposition,” he added.
Will a well-marketed, well-written female-led comedy releases achieve mainstream success?
Wankhede shared, “Yes, as audiences become more discerning and exposed to diverse narratives—both domestically and internationally—the potential for well-crafted female-led films to thrive and develop into successful franchises is more promising than ever.
A well-written film is the cornerstone of any successful cinematic venture. Hollywood has demonstrated this with films like Miss Congeniality, where a sharp script, engaging characters, and humor combined to create a beloved franchise. Similarly, Indian films such as Pagglait’ and Dear Zindagi’ have resonated with audiences due to their relatable themes and compelling storytelling. These films not only entertain but also provoke thought and evoke emotions, which are crucial for audience engagement.”
He added, “The Indian audience has undergone a significant transformation in recent years. With increased access to international content through streaming platforms and a growing appetite for diverse stories, viewers are more open to exploring films that feature female leads or experimental narratives. The success of films like Lipstick Under My Burkha’ illustrates that audiences are ready to embrace stories that challenge societal norms, provided they offer genuine engagement and entertainment.”
“If female-centric films are well-received, they can develop significant franchise value, akin to successful male-led series like Golmaal or Housefull. The key lies in creating memorable characters and compelling narratives that audiences want to revisit. By building a strong foundation with the first installment, filmmakers can lay the groundwork for sequels that continue to explore the journeys of these characters while introducing new themes and challenges,” he concluded.
In conclusion, while Bollywood has made strides in various genres, the comedy segment still exhibits a significant gender disparity. Addressing this imbalance requires conscious efforts from filmmakers, writers, and the industry at large to craft narratives that celebrate women’s humor, wit, and multifaceted personalities. Such endeavors will not only provide a platform for female talent but also offer audiences a richer and more inclusive cinematic experience.
