How Amar Kaushik’s Stree 2 breaks the old mould for male hero in Hindi cinema

In recent years, Hindi cinema has increasingly turned its lens on small-town India, drawing from the diverse lives of its people, portrayed by actors like Ayushmann Khurrana and Rajkummar Rao, who have rewritten the rules of what a Hindi film hero can be. A clutch of recent films have abandoned the stereotypical ‘larger-than-life’ hero in favour of characters that are deeply flawed and strikingly real. Their portrayals of men grappling with insecurities, social pressures, and personal fears speak to a generation of viewers who see themselves in these roles.

Vulnerable, and fumbling through his emotions

Gone is the infallible, hyper-masculine figure of earlier decades. The new-age Hindi film hero is far removed from toxic masculinity — he is vulnerable, open to making mistakes, likely to fumble through his emotions, and even afraid of dark alleys and ghosts. The Hindi film hero might be the sweet boy in your class, the cousin who loved teasing you, or the helpful neighbour in a small town. He is no longer standing on a pedestal but is a part of our daily existence, reminding us that he could be present in some nook or corner of our lives.

This new wave of films reflects a fundamental transformation in the portrayal of masculinity in Hindi cinema. Films like Badhaai Ho (2018), Bareilly Ki Barfi (2017), and Newton (2017) have male characters who are not driven by machismo but by a deep sense of self-awareness and emotional complexity. In these films, men are allowed to make mistakes, show fear, and realise their shortcomings without being diminished by them. This evolution has been instrumental in humanising the hero, allowing him to engage with the everyday struggles of modern life.

The rise of these stories is not an isolated trend but a response to the growing sophistication of Indian audiences, particularly those living in urban and semi-urban centres. The spread of multiplexes and the boom in streaming platforms have diversified the kinds of stories that can be told. Filmmakers are no longer confined to the mass-appeal formula of melodrama, romance, and action but are experimenting with a wide array of genres — from horror comedies to socially conscious dramas. They are reshaping the very concept of the Hindi film hero, making him more reflective of the realities of contemporary Indian society. Whether it’s Khurrana playing a prematurely balding man dealing with socially-sanctioned beauty standards in Bala or Rao’s portrayal of an earnest government clerk facing moral dilemmas in Newton, these characters represent a new kind of masculinity that is grounded in empathy, introspection, and authenticity.

Saints and commoners of allegorical tales

The Hindi film hero was not always a commoner, and the quintessential Hindi film hero has gradually evolved over the decades. No wonder the changed portrayal of male protagonists is a testament to new-age storytelling and the rise of multiplex culture. It is interesting to note that the development of the male lead in visual storytelling has a socio-political aspect as well. If we discuss the earliest films made and the depiction of the male figure in them, many of the silent movies portrayed protagonists as saints who were clad in khadi and wore caps similar to those worn by nationalist leaders of that time.

Also read: Stree 2: Amar Kaushik’s film dismantles patriarchy with a supernatural twist

Bhakta Vidur, a 1921 silent film directed by Kanjibhai Rathod, and produced under the Kohinoor Film Company banner, was banned by the British government as its male lead resembled Mohandas Karamchand Gandhi, who was considered a saint by the people of the country. It was the first Indian film to face a ban. While banning the movie, the censor remarked that the saint in the movie was modelled on Gandhi and could incite people for non-co-operation.

Many such ‘saint films’ were made during this time when the national movement was gaining momentum; while most of the stories were centred on mythological themes, the fleeting reference to the nationalist movement was quite evident. In the preceding decade, Raja Harishchandra (1913), directed by Dadasaheb Phalke, the father of Indian cinema, had set a precedent by using a mythological king to embody idealistic values such as truth and sacrifice, which resonated with the moral fabric of the freedom movement.

Similarly, Lanka Dahan (1917), Phalke’s second feature film, featured mythological tales from the Ramayana but was subtly infused with nationalist undertones. These early films showed how cinema became a medium for expressing political sentiment, camouflaging revolutionary ideas within religious or mythological frameworks to navigate censorship.

The emergence of the ‘Angry Young Man’

After Independence was achieved, it ushered in the Nehruvian principles of nation-building. Against this milieu, the Hindi film hero also underwent a major transformation. Clad in a dhoti, he was seen toiling in the fields or riding a tonga, symbolising the new nation’s agrarian roots and drive toward progress. The male character in the post-independent cinema was frequently depicted as playing an important role in the overall growth of the country. He was seen lending a hand in the building of dams (‘the temples of modern India’), taking an active role in politics and upholding the principles of a secular democracy. Films like Mother India (1957), Leader (1964), Naya Daur (1957) and many more saw epitomised this archetype, where the male protagonist embodied Nehruvian ideals of secularism, socialism, and the dignity of labour, mirroring the nation’s aspirations in the formative years. The period also saw many historical romances with the lead character playing the role of the just ruler, a trend that many film historians owe to Indians seeking pride in the past that consists of multicultural ethos of the medieval period as opposed to the propaganda by the British rule. 

The 1960s was a time when globalisation was in its nascent stage and films like Love in Tokyo (1966) and Kashmir Ki Kali (1964) had lover boys swooning over their beloved while also globe-tottering. As the initial euphoria of the Nehruvian era gave way to sobering thoughts, the Hindi film hero also realised that though the country had achieved independence from foreign rule, everything was not as rosy and hunky-dory as promised. There were problems at hand that were yet to be acknowledged. Poverty, corruption and communalism ravaged the Indian society and hence the “Angry Young Man” emerged from the fringes of the society. He was someone who defied law and order and was looking for change from within.

The early 1970s witnessed the rise of the quintessential Angry Young Man, a character filled with rage due to the absence of social justice and the unequal treatment meted out to the underprivileged. The character was portrayed to perfection by none other than Amitabh Bachchan, who played a string of roles that resonated with the frustrations of the common man in films like Zanjeer (1973), Deewar (1975), and Sholay (1975). His portrayal symbolised the deep-seated ire in the society’s soul; the hero he played no longer adhered to traditional notions of morality, but instead took matters into his own hands. The Angry Young Man stood for rebellion against a corrupt system, making Bachchan the face of this socio-political movement in Indian cinema. 

‘People like us’: The middle-class icon

In the 1990s, the image of the anti-hero evolved from this rage-filled portrayal, reaching new heights with Shah Rukh Khan’s performances in films like Baazigar (1993) and Darr (1993). The anti-hero of this era took great pride in committing morally ambiguous and even villainous acts — throwing the heroine off a building, stalking his ladylove, and flouting the judiciary. Despite his vices, this dark, flawed character captivated audiences, who were drawn to the complexity and charisma of the anti-hero. Shah Rukh Khan, with his charm and intensity, brought a dangerous allure to the roles, appealing to the growing trend of morally gray protagonists who defied social norms. This image of the male hero reflected the changing attitudes of the audience, who were increasingly fascinated by characters that pushed the boundaries of traditional notion of heroism.

Also read: How Stree 2’s box-office success rebuts the machismo of Sandeep Reddy Vanga’s Animal

The last decade has seen films like Padmaavat (2018) and Tanhaji (2020), which resonate with the growing jingoistic discourse at the national level. These films often explore and challenge the identity of the ‘other’ and engage with ideas of nationalism and nationhood. Through larger-than-life portrayals of historical figures, the socio-political climate seeps into the development of male protagonists, where hyper-masculinity and patriotism are often emphasized. The portrayal of the male lead in these films reflects a blend of valour and aggression, aligning with current political narratives that champion a more combative form of nationalism.

The rise of OTT platforms has given a fillip to real and relatable characters as far as the Hindi film hero is concerned. With stories set in the hinterland, the new breed of Hindi film heroes has become more realistic. With stories set in the hinterland, the male hero today essay roles that are closer to the lived experiences of a large number of the audience. And the cine goers carry a part of each character back home with them.

Actors with unconventional looks like Khurana, Rao, Manoj Bajpai and Nawazuddin Siddiqui have set the celluloid ablaze with their screen presence, paving the way for eccentric stories and characters. From a figure to be idolised to becoming someone who is like one of us, the Hindi film hero has come full circle. And what a journey it has been! While we have been witness to it, surely there is more to come and we are keeping our fingers crossed, because as they say “the best is yet to come”.