Bollywood Changing Concept are here // Bollywood Celebrities

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In bold new Bollywood, clichés are falling by the wayside.
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Gone are the days when heroines were just eye candy running around trees and pleading for mercy from tormentors.
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Powerful celluloid characterizations of women protagonists are increasingly the norm.
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The in-your-face brazen beauties are comfortable in their skin and attire.

The Shonali (Deepika Padukone) of Karthik Calling Karthik (2010) not only looks gorgeous and discusses how many boyfriends she's had but also makes the first move in asking her beau to kiss her in a stark role-reversal.
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Karthik aka Farhan Akhtar refuses, saying he doesn't want to take 'advantage' of her when she's drunk!
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According to debutant director Vijay Lalwani, Deepika's character is straight out of real life where women today are very aware of their sexuality.

New wave filmmakers like Imtiaz Ali, Ayaan Mukherjee depends on such characters that exist in flesh and blood.
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“Shonali's character is etched out from my personal experience," says Lalwani.
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Then there's the feisty Sweetie (Priyanka Chopra) in ‘Kaminey’ (2009) who first seduces the simple Guddu (Shahid Kapoor), later forcing him into marriage and running away.
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Even in Madhur Bhandarkar's ‘Fashion’ (2008), Chopra ambitiously transforms herself from small town girl with big dreams to successful supermodel.

Never mind that she has to go via the couch to reach the top or clinically dismantle the reigning Kangana Ranaut.
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Bhandarkar attributes this trend to changes in urban India in the last five years.
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"Look around you, women in any field — be it politics, business, corporate world or a creative field — are all career-minded, ambitious, willing to delay marriage and motherhood to achieve professional goals;
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………. they have the independence to make choices in terms of whom they want to date, which career they want, what they should wear and how they should lead their lives," says Bhandarkar.

He goes on: "The kind of movies I make, full of strong women protagonists likes ‘Fashion’, ‘Page 3’ or ‘Corporate’.
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…….. I know from my research that urban and small town India is thriving on the 'Barista culture' where a woman sharing a cigarette or a drink is very common.
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Here they exchange the same jokes and SMSs as men, often sexually explicit."
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According to Bhandarkar, this is a positive trend as people prefer strong women on celluloid today.

"Women also identify with characters like Konkana in ‘Page 3’ who refuses to compromise her ideals in pursuit of her dream to become a journalist or Bipasha in ‘Corporate’ who's willing to take the fall for her love."
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Not surprisingly in ‘Bachna Ae Haseeno’ (2008), Deepika is the New Age woman who's practical enough to focus on being a dedicated taxi driver irrespective of a demanding relationship with boyfriend Ranbir Kapoor.
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Also in ‘Love Aaj Kal’ (2009) a perky and practical Deepika chooses her career in art restoration over a breezy romance with Saif Ali Khan.
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Director Imtiaz Ali sees this as an exercise towards individualism

"Carving identities of their own gives today's youngsters a sense of satisfaction," he says.
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So there's Konkana Sen Sharma in ‘Wake Up Sid’ (2009) who moves away from the yesteryear heroines who need to be looked after to stay alone in Mumbai to becoming a journalist.
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Then in Zoya Akhtar's ‘Luck By Chance’ (2009) she walks a lone dignified road having been rejected by filmdom and superstar boyfriend Farhan Akhtar.
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Strong female leads, like their real counterparts, are here to stay.