THE ERA OF ANNIHILATION OF THE REAL WOMAN FROM THE FACE OF INDIAN CINEMA

Emancipation of the Indian women from the cruel clutches of the 'damned household slave' image, with the dawn of the realization that the female sex can make ample additions to the financial incomings of the family, without as much tarnishing the distinguished face of the conservative Indian family, has been a happy misconception harbored by the educated Indian society.

Ironically women have moved a step forward into the happy hands of the all assuming Indian mankind. The Indian woman has yet again enabled her man with the extra link to inevitable slave drudgery.

Hysterically, this image of the Indian woman is crystal clearly reflected in the face of the ever evolving Indian film industry. Now 'she' is no longer a common pretty face that a haughty man would take home to his saintly mommy, but 'she' is the perfect physical persona of the being who would serve as the best mental imagery for the common Indian man’s often self induced (or not so physically forthcoming spouse’s generously endowed)sexual culmination. This glorious portrayal of the woman whose raw physical magnetism exceedingly reaches for the unattainable, brings the male audience closer to the movies by playing a subliminal message to their natural instincts of hypothetically attaining that which cannot be imagined (the female audience tags along for unavoidable moments of apparent relaxation from the terrible turmoil of its natural existence).

This metamorphosis of the Indian woman in the Indian cinema- from an ideal partner who direly lacks in most all mental abilities to a woman who continues her voyage into oblivion in a more daring and stunning garb that supposedly hides the true purport of her hideously deficient neural activity, has finally welcomed the era of the Indian man’s true visualization of his coexistent homo sapiens from the opposite sex.

While the nation level film industry welcomes in the women of mixed origin, the ever booming south Indian films gladly entices the groping characterless faces from the north. Simply put, the local woman is no longer good enough and every new female protagonist in a new film is just another page added to an album that is only discarded with the speed and dexterity of an increasingly virile(or Viagra induced) man who has earned the ability to display all his priced finds in a show cased production.

We have truly reached an era of repulsive and cruel annihilation of the Indian woman from the Indian film industry by drawing in and combining the 'item girl' with yesteryears mentally withdrawn female protagonist. The woman in Indian cinema quite literally no longer even has a voice - the total lack of knowledge of the local language has ensured the only stable consistency of some form of the female existence in the Indian cinema – the voice over artist.

All representations of the fair sex in the Indian cinema sound and act alike. While bubbling and tingling with the commonly assumed freshness of spirit, beauty and innocence (that suspiciously borders on seriously deteriorated intellect), she elegantly stumbles along on the journey of accompanying the man who fulfills her lack of minimal gumption with amazing and super human dexterity. The only consistency in the hoard of women seeking to make it to the silver screen is the constant supply of beguiling female forms which come in all shapes and sizes. There is no face and there is no identity for the woman in any Indian power flick. The face of the Indian woman in Indian cinema has been grotesquely disfigured and destroyed in a vile and abominable manifestation of testosterone driven film making.