From Witch Hunts to Ghost Stories: Misrepresenting Free-Thinking Women in Popular Cinema

The theme of horror comedies like Zamkudi (Gujarati) and Street 2 (Hindi) appears to grapple with the historical injustices faced by free-thinking, intellectual, or creative women who were labeled as witches to suppress their autonomy. This premise holds substantial potential for a critical re-examination of societal prejudices and gender dynamics. However, these films often falter by perpetuating the very superstitions they seek to critique, portraying these women as literal witches or ghosts. This narrative choice undermines their progressive intent and risks reinforcing the same patriarchal stereotypes they aim to deconstruct.

To serve the purpose of reclaiming these women’s narratives, the first step must be the rejection of the supernatural framing of witches or ghosts. Historically, the label of "witch" was a construct used to vilify and control women who defied societal norms. Rationalizing these accusations rather than validating them through fantastical elements is essential for reclaiming the dignity of such women. The presence of actual ghosts or evil spirits in these films reaffirms the myths that contributed to the oppression of these women in the first place. Consequently, this approach dilutes the intended critique of patriarchal structures and risks trivializing the historical reality of their persecution.

The Bhul Bhulaiyaa franchise exemplifies this regression. The original film was grounded in rationality and presented a forward-thinking perspective that dismissed superstition. However, its subsequent installments increasingly indulge in supernatural tropes, undermining the rationalist stance of the first film. By reintroducing ghosts and spirits, these sequels blur the distinction between historical critique and endorsement of superstition. This trajectory shifts the narrative focus from challenging societal prejudices to reinforcing them, which not only weakens the feminist undertones but also diminishes the cultural and intellectual potential of the genre.

Ultimately, if the goal of such films is to advocate for progressive gender dynamics and intellectual freedom, they must abandon the supernatural framework. The persistence of ghosts and witches in these narratives undermines their progressive aspirations and risks reinforcing archaic beliefs. Instead, filmmakers should embrace rationalism and focus on deconstructing the myths surrounding "witches" to illuminate the oppressive structures that gave rise to them. Only by doing so can such films contribute meaningfully to a discourse on gender equality and intellectual freedom.