1. Krishan Sharma
April 23, 2016
20949146
ASIA 365
Professor Anne Murphy
Masala Films: Do They Really Make an Impact?
Masala films which mixes several genres such as action and comedy is a very popular
genre in Indian cinema particularly in Bollywood. This trend of film making became popular
back in the 1970’s starting with Sholay (1975) one of Bollywood’s most successful films to date
and Amar Akbar Anthony (1977) directed by Manmohan Desai who is considered to be the king
of masala films. Other prominent directors such as Subhash Ghai, Rakesh Roshan and Rohit
Shetty followed this genre of film making, made it in their own unique style, and created popular
films such as Karma (1986), Karan Arjun (1995), and Singham (2011). This trend has also
entered into regional film industries including Punjabi cinema. Many of these films touch on
various issues that affect those living in India and abroad and at the same time, interweave
various tropes of masala films. The purpose of this paper is to analyze how films Mitta Wajaan
Mardi (2007), Shaheed E Mohabbat (1999) and Punjab 1984 (2014) use their ‘masala technique’
to execute their specific messages clearly to the Punjabi audience and how this is also seen in
Hindi cinema.
The definition of the diaspora is when a particular ethnic group migrates to
another country (usually to a more progressive country such as the United States), which can be
done for a variety of reasons such as for studies or for a better life for their families. The 20th and
21st centuries saw many Sikhs migrating to countries such as Canada and at the same time Hindi
masala films such as Dilwale Dulhania Le Jaayenge (1995), and Namestey London (2007) began

2. to shed light on this topic, which in turn focused primarily on the Sikh diaspora. Mitta Wajaan
Mardi, addresses these issues that balances comedy with drama and allows for second generation
Punjabis to relate to common situations. Vanyam Singh who is born in America is a successful
doctor but is close to his native Punjabi roots. However, when he visits India for the first time
there are some obstacles he faces. One comic scene is when Vanyam reaches the airport, he
unknowingly walks away from his driver because his name was written in Punjabi. Although
Vanyam can speak Punjabi, he cannot read or write it. The driver responds to him in Punjabi
saying that you’ll be in a lot of trouble here because all the signs are all written in Punjabi. This
shows how the “use of Punjabi language shows that the characters speaking Punjabi are still
connected to the homeland and have their authentic Punjabi identity intact.” (Nagra, 162).
Interestingly, the comedy featured in this scene highlights two things, “characters’ linguistic
behavior points to the moral behavior which is contingent on their relation to the center, the
homeland” (Nagra, 166) and authenticity. Although Vanyam is a Punjabi who grew up in
America, he is portrayed by noted actor/ singer Harbhajan Mann, who’s thick accent
overshadows his attempt of bringing an American accent. This is because the “the Punjabi film
industry lacks diaspora actors” (Nagra, 162). Although comedy in Punjabi masala films work in
presenting their message to the audience, they tend to “downplay cultural differences and shows
a depreciative attitude towards different modes of life and cultural diversity.” (Naga, 162).
Like comedy, melodrama is another popular element used in masala films. However, for
the most part, Sikh characters in Hindi masala films are mostly portrayed as “the comic relief or
the stereotypical buffoons in turbans who have more brawn than brains” (Chanda, 189). Punjabi
cinema on the other hand, began using the same technique but unlike Bollywood, portrayed
Sikhs in a more realistic approach. Shaeed- E Mohabbat (1999) is a good example that utilizes

3. the technique of melodrama to execute a well thought out story. For the most part, Sikhs in lead
roles are shown to “denote valour, patriotism, and ferocity” (Roy, 210). Boota Singh, the main
protagonist presents these elements given that he wears a turban, served in the army and is
willing to take a stand against injustice. However, he is shown to have a vulnerable side which is
not seen in mainstream Hindi Punjabi themed films such as Son of Sardar (2012). This is
particularly seen in the dramatic court scene where Boota’s wife Zaianb refuses to acknowledge
him as her husband and their new born child in the Pakistani court and Zainab’s relatives
viciously beating up Boota who refuses to fight back. Heartbroken and unable to bear the
humiliation and suffering, Boota takes his own life in the iconic scene where he jumps right in
front of a moving train. These particular scenes that uses melodrama are able to show the
aftermaths of the 1947 Partition and how one’s life can be changed forever when others try to
use religion or governmental rule to justify their selfish motives.
The most important element that brings audiences together and what makes masala
movies popular is action. The overdramatized but entertaining fight scenes highlight the
frustrations the common people in India have to go through such as political corruption and how
the violence represents one’s anger. The Hindi movie “Inquilab (1984), which features superstar
Amitabh Bachchan, is a masala film with political aspirations” (Manjunath, 99). The storyline
revolves around Amar Nath, an honest police officer who discovers and “exposes the horrid
political culture of the existing parties and dwells on the nexus between the politicians,
smugglers, police, and other antisocial elements.” (Manjunath, 99). Like in Shaheed E
Mohabbat, the melodrama in Inquilab goes hand in hand with action scenes which is seen in the
dramatic but suspenseful confrontations between Amar Nath and the corrupt political leaders.

4. The climax of the film shows Amar Nath, who is an now an elected leader in parliament where
all the drama first began, “picks up a machine gun and murders all the political leaders”
(Manjunath, 99). Although this would not happen in reality, the purpose of showing the over
dramatized and excessively violent final confrontation highlights the anger many people,
particularly the youth, feel which I feel helps illustrate to the mass audience of taking a stand
against corruption.
Similarly, in Punjabi cinema, the use of action is highly used in many masala films but
works particularly well in Punjab: 1984 (2014). The film focuses on the Punjab Insurgency that
occurred in the aftermath of Operation Blue Star and the assassination of Indira Gandhi in 1984.
Satwant Kaur is an aging mother who is looking for her missing son Shivjeet. Everyday she
desperately goes to the village police to find answers but ends up being ridiculed or abused by
the head of the police station Inspector Deep Singh Rana. The film eventually reveals that
Shivjeet like many young innocent Sikh males were picked up by the police, accused of being
terrorists and faced brutal interrogation, mainly from Rana. Luckily Shivjeet escapes and joins a
militia thus changing his name to Shiva. One dramatic scene that caught me was Shiva’s
interrogation/beating. Although overly violent, this scene presents to the viewers such as myself
(who are not knowledgeable of the events of post 1984) the motive behind both parties. Rana is
depicted as a corrupt individual, who will use his power and kill innocent people to receive
promotions. Shiva's response in turn to this injustice, namely joining a terrorist group and
carrying out acts of terrorism, shows how injustice from the system can lead to people being
disillusioned with the system, resulting in the deterioration of law and order. However, like
Inquilab, Punjab 1984 also presents the corruption from the people who the public perceives as a

5. good saint on the outside but are conniving in the inside. Sukh who is the leader of the militia
group is presented as one who is fighting for the welfare of Sikhs. However, it is revealed that he
is willing to sacrifice vulnerable recruits like Shiva, and use them to commit acts of terror, so
that Sukh himself can be hidden from the public's eye. This film thus uses aspects of masala
filmmaking, like violence, to discuss social issues and expose the faults of both the system and
how people reacted to its injustice.
Lastly song and dance sequences are a necessity in masala films whether they flow with
the plot or act as an distraction. The songs in Mitta Wajaan Mardi although catchy and showcase
Harbhajan Mann’s singing acts like a distraction where the songs act like side stories thus not
allowing the movie to progress. One particular example is the song “Uda Aidaa Eedi” which
over emphasizes Vanyam’s lack of reading and writing in Punjabi and is signing with a group of
young children to impress the female teacher. The songs in Shaheed E Mohabbat on the other
hand work given that I feel flow well with the plot particularly “Gaadiye Ni Der Na Karin.” Not
only it broadcasts the talented voice of Gurdas Mann but also presents the calm sweet side of
young Sikh males that I feel is overpowered in Hindi movies with their over the top western
themed dances.
In conclusion, masala films are entertaining films that are able to gather a diverse
audience. Although certain movies overdramatise scenes either through the comic scenes or the
intense fight scenes, they are for the most part able to spread their messages creatively and create
a huge impact which can be seen in Punjabi Cinema with Punjab: 1984 (2014) and in Hindi
cinema with popular films such as Rang De Basanti (2006).

6. WORKS CITED
Nagra, Ranjanpreet Kaur. "'British By Right, Punjabi By Heart'" Sikh Formations Religion, Culture,
Theory 7.2 (2011): 161-75. The University of British Columbia. Web. 19 Apr. 2016.
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and Consciousness 95-117. Creskill, NJ: Hampton Press Inc. 2003
Roy, Anjali Gera. "Representation of Sikh in Bollywood Cinema." Sikh Formations Religion, Culture,
Theory 10.2 (2014): 203-17. The University of British Columbia. Web. 18 Apr. 2016.
Chanda, Geetanjali Singh. "Recognition and Rejection of Sikh Identity in Film." Sikh Formations Religion,
Culture, Theory 10.2 (2014): 187-202.The University of British Columbia. Web. 19 Apr. 2016.
Pendakur, Manjunath. “Masala Films: Aesthetics and Politics: In Indian Popular Cinema: Industry, Ideology,
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Shaheed E Mohabbat Boota Singh. Dir. Manoj Punj and Shamim Ara. Perf. Gurdas Mann & Divya Dutta. Eros
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