This is an analysis of the recent portrayal of an unwed mother in the Bollywood film, Kya Kehna! (Kundan Shah, 2000, henceforth KK). The title, which is readily translated to the rhetorical, "What can you say?" has additional significance here as a laudatory exclamation directed at the film's young heroine. Targeting a younger audience, the film was hailed as a challenging exploration of female sexuality and women's empowerment. The film in fact reaffirms traditional stereotypes of women in which their behavior is carefully controlled within a patriarchal framework. In spite of the awkward fact that the main character's state of motherhood is the result of pre-marital sex,nationalist mechanisms are put into play to glorify the ideal of Woman-as- Mother. Unwed motherhood is not unheard of as a half-hidden side-plot of Hindi film, but it is very unusual to find it as the main narrative focus.

A close textual reading of KK will enable a detailed comparison with an earlier film that apparently served as a template for the later production. Julie (K. S.Sethumadhavan, 1975), is a film that handled the same subject with a sensitivity unmatched in the more recent film. Further, placing KK alongside other contemporaneous releases, will show how-even in a film that does not foreground political, patriotic, or religious story lines-nationalist subtexts can be discerned in its handling of pre-marital sex, religion, and in the staging of its conclusion.

The influences of economic liberalization, rising Hindutva sentiment in India (and commensurate communal tensions) as well as the impact of the NRI (Non-Resident Indian) community are all factors that play a part in the shaping of current Bollywood ideology, and their effects are visible in this film. Finally,viewer response and the concept of women's "uplift"will be addressed.

With a national cinema as diverse as that found in India, it should come as no surprise that some sort of "trend" is proclaimed almost every day. A cursory glance through a stack of old issues of Filmfare, an Indian film periodical, will reveal any number of outdated claims that popular film is headed towards "new" ideological or visual horizons. With the benefit of hindsight, however, we can see that most of these trends turn out to be mere blips in the massive,complex, and variable field that is Indian cinema. This paper grew out of a response to an assertion by Anupama Chopra, film critic of India Today, who declared that "the Bollywood rules are being bent beyond all recognition" because "a new generation of educated, savvy, and sassy women are demanding better roles."1 It is true that, historically, the majority of women's roles in commercial Indian film have been drawn from a limited menu of formulas, and there have been occasional clusters of films that veer away from that norm now and again. Chopra was referring, in this case, to a recent string of films featuring top-billing for women whose characters find themselves in situations unusual for Hindi film, with sometimes startling plot twists.

These films have been promoted as "progressive" in their attempts to address difficult,women-oriented issues such as rape, unwed motherhood, and surrogate pregnancy. Generally,the Indian cinema press, including Chopra, has trumpeted these films as part of yet another "new wave" of issue-oriented cinema directed towards women, though the audience response has remained rather mixed.3 While there seems to be no doubt that a number of new films are taking risks in dealing with heretofore taboo themes, it is not the case that women's roles are presenting a new, progressive standard. Chopra herself acknowledges that, despite this flurry of bold new roles for women, the bulk of popular films still depict women as "eye candy," and that the "politics are largely regressive."

This is an analysis of the recent portrayal of an unwed mother in one such Bollywood film, Kya Kehna! (Kundan Shah, 2000, henceforth KK). The title, which is readily translated to the rhetorical, "What can you say?" has additional significance here as a laudatory exclamation directed at the film's young heroine. In keeping with the marketing strategy of the film's makers, I have chosen to paraphrase the title into rather more current slang, thus: "You Go Girl!" Targeting a younger audience, the film was hailed as a challenging exploration of female sexuality and women's empowerment. I will show that the film in fact reaffirms traditional stereotypes of women in which their behavior is carefully controlled within a patriarchal framework. In spite of the awkward fact that the main character's state of motherhood is the result of pre-marital sex, nationalist mechanisms are put into play to glorify the ideal of Woman as-Mother.

Unwed motherhood is not unheard of as a half-hidden side-plot of Hindi film, but it is very unusual to find it as the main narrative focus. A close textual reading of KK will enable a detailed comparison with an earlier film that, I believe, served as a template for the later production. Julie (K. S. Sethumadhavan, 1975), is a film that handled the same subject with a sensitivity unmatched in the more recent film. Then, by situating KK alongside other contemporaneous releases, I hope to show how-even in a film that does not foreground political,patriotic, or religious storylines-nationalist subtexts can be discerned in its handling of premarital sex, religion, and in the staging of its conclusion. The influences of economic liberalization, rising Hindutva sentiment in India (and commensurate communal tensions) as well as the impact of the NRI (Non-Resident Indian) community are all factors that play a part in the shaping of current Bollywood ideology, and their effects are visible in this film. Finally, taking into account viewer response, I will touch on issues of genre and the concept of women's "uplift." First, for readers unfamiliar with the Bombay film industry, a brief history of Bollywood cinema will provide a background against which these current developments can be placed.