Bollywood's angry hero: The 'Angry Young Man' Of The Seventies Has Almost Got Cult Status

Bollywood's angry hero

Angry hero of bollywood amitabh bachhan
The 'Angry Young Man' of the seventies has almost got cult status! Social conditioning is behind the creation of an anti-institutional defendant to stand up against injustice and oppression. Because of him, the image of the angry young man has changed again and again.

“Oops, you are the best, you are the ideal. Kis kam ke hai tumhare usul? Tumhare sare usulon ko ghutkar ekdin ki raeti v nahi banai ja sakti ... ”



After hearing such blood-heated dialogues of undisputed angry hero Amitabh Bachchan, the cinema hall was flooded with applause! This scene is very familiar in the seventies. He was not a romantic hero but used to stumble across the screen in 'Angry Young Man' from eight to eighty. But why is the young man behind the curtain so angry? Psychologically, one of the main causes of anger is unmet needs. Anger can be born from failure, shame, humiliation, frustration. Bollywood's angry young social frustration crop! So he is rebellious, so-called lawless, determined to wipe out the enemies of society. Not that Rebel Hiray was not born in Bollywood even before Amitabh Bachchan. However, the expression of that hero, the body language is very different. ‘Do Bigha Zamin’, ‘Saheb Bibi Aur Ghulam’, or Raj Kapoor’s multiple movies were chakbhanga. Special mention should be made of Sunil Dutt's character Birju in 'Mother India'. In these films, he has given the status of 'Alternative Rebel' to the ideological man who is protesting against the former social system. No, it's not always the hero who wins. The whole country is fascinated by the dialogue and body language of the angry young man from 'Zanjeer' in 1973, he is the representative of the heroic manhood! Yes, if we look at anger as a voice of protest, then the directors have created one character after another by covering it with masculinity. Box office success has also come. In fact, cinema and sports are the two means of entertainment in this country through which the common man gets the ointment to forget their sorrows. When ordinary people, tired of the day-to-day failures, humiliations, and frustrations of meeting the demands of the day, see one person winning all the battles on the screen of the cinema hall, he or she will find the fate of his or her own 'alternative self'. Just as Rajesh Khanna's romantic image shows a dream of a colorful world away from reality, the story of revenge of a young man crushed under the pressure of society (in several of Amitabh Bachchan's movies) seems very close to the audience. Multiple movies and songs of the second genre speak of a consumerist society, where the measure of happiness is consumerism. If you don't get the right there, you have to snatch it. And that absolute peace ...(Read more: Do These 5 Pranayamas Every Day While Sitting At Home In Lockdown, Diseases Will Stay Away)

angry look of bollywood hero

Amitabh from Osborne



If cinema is a reflection of society, then its characters will also be inspired by contemporary society, which is natural. Rising unemployment or political violence in the seventies also infuriated the then youth. If you notice, in the movie of the seventies, the protagonist is an angry young man, in which he is basically anti-institutional, sometimes he is the guarantor of the middle-lower middle-class society. Going to suppress the evil, his anger is literally justified! The protagonist here is larger-than-life. The special emotion called anger is also not negative. In fact, when a common man sees the hero of his dreams in his role on the screen, he loses his own misery and sorrow, then somewhere the reflection of the accumulated anger of the common man's mind emerges through the screen 'Angry Young Man'. That Aam Aadmi was then the six-footed Vijay Burma of "Diwar" or Vijay Khanna, the inspector of "Zanjir". Anger is the language of protest here. The catalyst for the fulfillment of the dreams of marginalized people. It is obvious when you see the social constructions of the characters. However, the concept of 'Angry Young Man' is even earlier. In post-World War II Britain, class divisions continued to grow. The huge financial divide between the aristocracy and the working class is illustrated by multiple studies. According to The Economist, by 1959-60, 6% of taxpayers owned 3.8% of the wealth! And 64% of the wealth was owned by 6% of the country's rich. Britain's political importance on the world map after the Cold War also suffered a bit. On the one hand, unemployment is rising in the country, educated youth may be angry! Food is not guaranteed, dreams-hopes-aspirations are being shattered in an instant, John Osborne's time-honored drama 'Look Back in Anger' was born at this extreme moment of anti-state. That started in theater and literature! The ‘Angry Young Man’ trend has become a movement. Osborne hero Jimmy Parter is educated, unemployed, anti-institutional. The play was disliked by press officer George Fearn after it was staged at the Royal Court in London. He says Osborne is an Angry Young Man! Of course, this phrase has become popular ever since. World War II - Born in northern Britain, the phrase coincidentally became popular in India in the seventies! In the rise of the idealistic hero in romantic idealism. Vijay Khanna of 'Junjir' is an orphan, his parents were killed when he was six. The film's villain Teja is a representative of the aristocratic, corrupt society here. In Muqaddar Ka Sikandar, the orphan Sikandar accidentally breaks the doll of Baralake's daughter and is accused of being a thief. The victory of "Diwar" is part of the proletarian society. Similarly ‘Trishul’, ‘Kala Pathar’, ‘Don’, ‘Kalia’, ‘Coolie’, ‘Mard’ ... what countless examples! Not only Amitabh but also Dharmendra, Binayed Khanna, and Mithun Chakraborty's multiple movies against the system were monopolized in Bollywood. (Read More: Cancer Swallows Two Great Bollywood Stars In 22 hours, Bye Rishi Kapoor And Irrfan Khan )


The evolution of the angry hero



The aggressive body language of Dinnath Chauhan, the winner of 'Agneepath' in the nineties, has changed in his next Bollywood movie! But the existence of the angry hero was and still is. Maybe his character, social context, or way of expressing emotions has changed. But from ‘Sevier Complex’ to ‘Ghadar’ to ‘Bir Zara’ .. it is very clear. A kind of image has also been created from the expression of anger on him. As we have seen in the story of the wounds of life being destroyed by keeping the anger in check, so the protesting character has also become the character of the language of anger according to the character of 'Abatak Chalpan' or 'Gangajal'. Some of the characters of Nana Patekar or Ajay Devgan speak of repressed anger. Heroes have evolved in the Hindi cinema every decade. But the general structure of masculinity that men will be the savior or ‘savior’ is present in almost all decades. So just as Prince Charming is the protagonist in the movie (Kuch Kuch Hasta Hai 'or' Dilwale Dulhania Le Jayenge ') so he has also passed in the role of' Liberator '. Just as the angry protagonist of "Ghadar" is built on a social and political context, so the "Kabir Singh" of Halfil is plagued by the emotional rage of failed love. In 'Buggy', everything else is similar to Tiger Shroff's larger-than-life character. But yes, anger has never been a stereotype in contemporary Hindi cinema. Rather, the character of Non-Angry Young Man has been warmly received by the audience. Many of them are close to the ground, they are also ordinary people, they cry when they are hurt, they dance when they are happy. Social Liberation is not just about anger. Take Aamir Khan from 'Dangal' or Shah Rukh Khan from 'Chuck De India'. Anger in the character of both of them is the insistence to do something. Now in many films, the protagonist is flawed, he is portrayed as a man of blood and flesh by highlighting the bad aspects of his character. He may not be an idealist! Character errors or imperfections may have made the characters so popular. So the actor is often anti-diamond. It is natural for a hero to show his strength and muscle in an action-oriented movie. There are characteristic differences in the character-building of the seventies with that show of strength.

 

Why not Angry Young Woman?



There is an easy answer! That is to see masculinity and anger as synonymous. It is a social stereotype that has been around for centuries. The hero will be the 'Savior' by rescuing the heroine from the hands of the villain. He is also responsible for the honor of the heroine (Honor is situated in a female body). No strong in the seventies or eighties. The female characters are also ubiquitous in the protagonist and they are the rightful helpers of the protagonist and determined to stand up against injustice. But where is ‘Angry Young Woman’ without an exceptional character according to ‘Khun Bhari Mang’! Admittedly, the Western world has come a long way in this regard, and that is why sociology will emerge. Education has played an important role in the infrastructure of society. Erin Brockovich's Julia Roberts, Miss Congeniality's Sandra Bullock, Frida's Salma Hayek, Salt's Angelina Jolie ... many examples. However, there are many examples of strong female characters in parallel movies of the seventies and eighties outside of Hindi commercial films. They have given a new definition of ambitious, aggressive, femininity. Dipti Naval, Shabana Azmi, and Smita Patil are the leaders of this neo-realism. Shabana is a Dalit woman in Shyam Benegal's 'Ankur'. Take Gautam Chase's 'Par' or Benegal's 'Mandi'. Smita Patil's 'Bhumika' or 'Mirch Masala', Dipti Naval's 'Kotha', 'Chashme Badur' have been covered in many cases, although in all cases the word is not true. Sometimes ‘orange’ also establishes an independent, distinct feminine character. In the last few years too, the female character of the defendant has come up again and again. Not the hero's accomplice, but the 'hero' himself! When Sehmat (Alia Bhatt) says in Meghna Gulzar's' Razi ',' Nahi samajh ati apki Dunia:...

Then maybe his protesting voice came to light. NH Ten's Meera (Anushka Sharma), Manmarjian's Rumi (Tapsi Panu), Mardani's Shivani (Rani Mukhopadhyay), Kahani's Vidya Bagchi (Vidya Balan) are as well as 'Patakha' or 'Stri' 'According to the movie. ‘Gender equality can take the place of absolute masculinity. In fact, what the character will look like in the movie depends a lot on the social conditioning, the choice of the audience to change is also an important issue. So again and again we see the evolution of the definition of ‘hero’! In this case, the word ‘hero’ is a gender-transcendent word according to the word ‘man’. Should be caught. It is also worth noting that angry girls are also 'angry young men'.

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