Gone girls: ‘Happy Bhag Jayegi’ and other women who run divided from home in Bollywood films

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By Ila Ananya

I have a crony who once motionless to run divided from home when she was 11. She left on her cycle, and didn’t take garments with her and took sandwiches instead. Then she sat in a park, from where she could see if her kin were looking for her. They didn’t come searching, and during night, she went behind home for dinner.

I’ve always wanted stories like that to tell, yet we was a boring, shaken child. I’m still boring, shaken and unadventurous, so we earnestly watch cinema in that women run divided — for too prolonged I’ve really badly wanted to be a crazy, uncaring, eccentric lady with furious hair and shrill laughter. And so we went to watch Happy Bhag Jayegi with this crony who once ran divided from home.

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Image courtesy: YouTube

Together, we watched Happy (Diana Penty) run from her imminent matrimony — we adore examination women run divided from matrimony — to Bagga (Jimmy Shergill) by jumping out of her window into a fruit truck.

The lorry ends adult in Lahore, in a residence of Pakistani diplomat Javed Ahmed (Javed Sheikh) and his son Bilal (Abhay Deol), who spend a rest of a film perplexing to combine Happy with Guddu, a male she loves. Happy is loudmouthed, talkative, and always certain of what she wants, even if she is infrequently uncertain of how to get it.

I’ve beheld some-more women like her in Bollywood of late. I’ll never forget Jab We Met, and those dual months in 2007 when we lived for dual months with Geet’s continuous gibberish in my head, and her really earnest, sweeping, I-will-live-my-life-my-way-and-if-anything-goes-wrong-I-can-only-blame-myself attitude.

I was 12 then, and we personally wanted to be her. Not for a group (I really happily abandoned a fact that she was using to a man), yet usually for a approach she jumped off her patio with her hair tied up, wearing using boots and carrying a trek (why, oh since couldn’t they uncover me what was in her backpack).

These are a best scenes: so full of tragedy since of march someone from a family is going to see her and try to follow her. In Happy Bhag Jayegi, a whole film involves a follow in that her kin and Bagga try to move Happy behind to Amritsar and make her marry him. The disturb lies in examination them shun these families they are using from in a initial place.

This is not to contend that these cinema can’t be vitriolic sometimes. In Happy Bhag Jayegi, Happy isn’t even in half a movie, even yet it’s her life they’re all using around to repair (Happy seems some-more than able of regulating things herself). And like in many movies, all these impossibly unadventurous and tedious group also unexpected seem to see a light when they accommodate these women.

We saw this in Jab We Met, where Aditya has his life altered by Geet, and we see this in Happy Bhag Jayegi with Bilal, who always wanted to be a cricketer, yet meekly follows all his father says instead. In both these movies, a women pull these tedious group to do all that they have always wanted, and afterwards totally frustratingly, a group turn a centre of a story instead (Manic Pixie Dream Girlification: complete).

I adore these women, maybe some-more since I’m zero like them. we also adore how, even though they are certain of what they want, or in some cases, not so sure, yet are creation decisions for themselves anyway.

A crony of cave loves how Meeta from Hasee Toh Phasee steals income from home, runs divided abroad to do her PhD, and afterwards comes behind to take some-more money. Sometimes it’s also a preference they haven’t suspicion by — like Happy (Diana Penty) in Happy Bhag Jayegi, when she runs divided from Bilal’s (Abhay Deol) residence in Lahore and tells a Pakistani automobile motorist to ‘adjust’ with her profitable him in Indian banking — yet that is since they are all so good during jugaad. There is also something about these women observant all that they wish to, like Tanu does in Tanu Weds Manu, when she tells Manu she doesn’t mind vital with anybody her kin debate of.

Other times it’s usually examination women learn new things, and saying them in situations that they are unknown with — we can’t even start to speak about how many we adore Queen for everything, like Rani (Kangana Ranaut) and Vijaylakshmi (Lisa Haydon) burping, and Rani’s startle during carrying to share a hostel room with group in Amsterdam.

It’s quite irritating that many films that emanate these colourful, crazy women orderly trip them behind into tedious aged roles by creation group their saviours or branch them kind during a end. Queen and Tanu Weds Manu are a usually ones I’ve seen that don’t do this. But we watch these cinema anyway, like we watch Happy, for those moments of escape, where women are being their loud, perfectionist selves.

The Ladies Finger is a heading online feminist magazine.