Tamil superstar Vijay’s first name is Joseph and Jamshad Cethirakath goes by the name Arya. Whether Mithun Chakraborty, who thought he’d be typecast as a tribal after Mrinal Sen’s Mrigayaa, or John Abraham, who feared his name would be a barrier, Hindi cinema has been exemplary in its inclusiveness. By the way, Danny is also a Padma awardee. Danny was accepted as any other Indian, even playing Shashi Kapoor’s brother in Fakira, a huge hit in the 70s.
But it is to Hindi cinema’s credit that he was rarely cast as a villain from any place known for its slanted eyes. It took a while for the industry used to Kapoors and Chopras to welcome him as one of their own. In his early days, there were stories of him being chased by the public who mistook him for a Chinese. But ever heard of Tshering Phintso? That’s Danny Denzongpa, the Sikkimese actor with distinctive features who was embraced by Hindi cinema way back in the 70s. Today, there is a calibrated attempt to bring the Northeast into the mainstream. But let’s also compliment the Hindi film industry for its comprehensiveness down the ages. Manjamma Jogati was conferred a Padma Shri and President Ram Nath Kovind was blessed by the sari-clad recipient in traditional transgender style. Last week, India rightly applauded when transgender folk dancer Matha B. It’s inclusivity that goes beyond homosexuality.Ĭome to think of it, with all its flaws, Hindi cinema has been upping its ante on breaking mindsets in many ways. When the hero falls in love and has a full-on sexual romp with her, you can imagine the ensuing boudoir riot. That for the first time, Hindi commercial cinema will see a heroine who has undergone gender reassignment surgery. The grapevine has it that the two men, known to bat a different stroke each time, have made a film that will astonish the audience. Meanwhile, director Abhishek Kapoor has turned himself into a brand that stands for cinematic courage with films such as Kai Po Che! and Kedarnath.
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