Where did the vamps disappear from the movies?

- Mainstream stories can be very difficult to predict. Heroines are more emotional and passionate. Heroes are less glamorous or less attractive, but they are more interesting

Other women, vamps, dancers, villains, bar dancers - what will they do at one time, how will they do it? Who will be trapped? These and many such questions kept running through the minds of the viewers watching the Hindi film. There was a time like this - which started around 150-150, it can be said that such a role was played by Kuldeep Kaur. Of course, Kuldeep was not only beautiful, but also sophisticated - sophisticated, lustful, lustful and trapping innocent and undoubted heroes. This was followed by many actresses like Kuldeep Kaur including Nadira, Manorama, Shashikala, Lalita Pawar, Helen, Bindu, Aruna Irani, Padma Khanna, Lakshmi Chhaya etc. In the end, the end of all these actresses was very bad. Viewers also criticized him after watching the film. Haven't there been such vampires in films today? Has it all disappeared? ..... After a long thought, it seems that some films have Vamp, Other Woman, but their death has thinned out. Here is a look at the journey of such actresses from 150 to 2021, in two parts ......

Bollywood's Bad-Girl i.e. Vamp is still staring at your screen. If you don't recognize it, it's because of how much it has changed. At one time this bad-girl was in a vamp side-roll. However, now it often plays a central role. The vamp remained bad and indifferent. Now this vamp sometimes conspires and sometimes struggles. Or Pichasi enjoys his misdeeds. Often just messes up. The vamp can work its magic in Mumbai's corporate world and the underworld, as has been revealed in two recently streamed web shows - "Bombay Begum" (2021) and "Arya" (2020).

This vamp does not fail forever. Some stories focus entirely on two or more women. These vamps struggle to decide who they are, what they want or need to do, such as films like 'Dolly Kitty Aur Woh Chamkate Sitare' (2013), 'Andhadhun' (2014) and 'Manmarjia' (2016). The one that blows the bugle of new change. The film-curator and South Asian representative at the Berlin International Film Festival says that the existence of the vamp was shaped by the way Indian society and the role of women in it were viewed.

For most of the decades from Hindi films in the early 1980s to the end of the century, most actresses were free from agencies, but Vamp had the agency, but was expected to pay a large sum for it. Living in the clutches of thugs, single women (cabred dancers, singers, bar dancers) in obscure careers end up dying, loneliness or even despair at the end of the film. Actresses were not portrayed as villains like men, 'says one critic.

However, the men-actors are portrayed as complex, struggling and returning, especially since they love a better woman. Especially those fiances and mothers! Women were often in key roles and proved to be beautiful and virgin or sexual and lost many times over. 'It used to happen in films for at least 5 more years. - Appearing. In the movie 'Dilwale Dulhania Le Jayenge', Simran and Raj were both alone in a hotel room and elsewhere, but Simran did not sleep with Raj and they were very close to each other, weren't they? ' Such a question the critic asks.

Changes began in the late 190's and 190's romantic-comedy years. The definition of bed-girl began to change. Films began to have a happy ending. This went on for a decade. Then, in 190, a team of storytellers, a new generation of assemblies, ambitions and new India came together. A grade actresses are starting to find a place that can do a lot more than just smile and dance. Actresses like Kajol and Urmila Mantodkar started playing the roles of serial killers and young women with psychosis. However, actresses were seldom reluctant to play such a role. When their initial experience was successful, the floodgates opened and all of a sudden the bad girl not only remained in the role of side but also spread all over the screen.

Then came the new millennium year. Young India was looking for an opportunity to talk about social, sexual and economic revolution. The age of their marriage was expanding. - was lengthening. Living alone or with friends and partners. Mainstream stories began to present their new reality in films in all colors. Kalki Kochlin played the role of a schoolgirl. In 2007, Anurag Kashyap's film 'Devdas' had a small role in 'Dev-D'. In 2010's 'Ishqiyaan', Vidya Balan has to take revenge. She came in a cheap synthetic sari playing the role of the gangster’s wife. Tapasi Pannu mastered clear language and talked to me about sex and consent in Aniruddha Roychowdhury's 'Pink'.

This film came in 2016. In 2015, digital platforms - Netflix and Amazon Prime arrived. The market was ready. Aspiring and talented women took on different responsibilities, not only in front of the camera, but also in the back, including the director's chair, the production studios, and the writers' room. With this, the race of who writes the freshest and most relevant stories has started. He was also told about this in a slightly different way. It also became very difficult to say what kind of freshness was used to bring about a kind of unity in diversity. The subscription-based revenue model meant that story tellers began to focus on a specific demographic for each type of project. This has happened before.

And that's why it's so difficult to predict mainstream stories. Heroines are more emotional and passionate. The hero is less glamorous or less attractive, but he is more interesting and the villain and his villainy are still in his place, but now they are just people as you may or may not know him - all the same. Remains.

Thus the side role from Hindi films that Kinnakhor Vamp has not yet disappeared but now she is changing her look and coming in a new role. It is difficult to identify it clearly, but it is present in one form or another. (In order)

The number of women in filmmaking is now increasing

We need more women. We need women in every room of writers, says writer and filmmaker Alankita Srivastava. She is the author and creator of the 2012 film 'Lipstick Under My Burqa' and the director of 'Dolly Kitty Aur Woh Chamkate Sitare' (2013) and the co-author and creator of the series 'Bombay Begum' on Netflix. Alankita Srivastava.

More and more films have come on screen for Dalits, women and other small groups so they are cheerful. If such stories are more profound, reflective and real, they make the viewer a little more isolated. Not only this, with the help of fire you can do welding. Few listen and make sense, he says.

I made my career as an assistant director and worked for Prakash Zani's 2006 film Gangajal. There were about 200 crew members at the time, and there were only three women behind the camera on set, including a costume assistant, a hairdresser, and me. There were such rules at the time. However after this the situation changed very quickly. Now there are a lot of women on the set and also in different sections - this is the change, today.