In Raaj Shandilyaa’s Dream Girl 2, Ayushmann Khurrana plays a financially strapped Karam, who turns to drag to become Pooja. He is the latest in a long line of Indian actors who have embodied women in their work, including Amitabh Bachchan in Laawaris (1982), Govinda in Aunty No. 1 (1998), Salman Khan in Jaan-E-Mann (2006) and Akshay Kumar in Laxmii (2020). The tradition of men playing women on stage is an old one, particularly as acting was not considered an appropriate profession for women, though it has been a few decades since the sexist practice was scrapped in theatre and mainstream cinema. There have been several instances of men cross-dressing as women in Indian cinema, but many of these portrayals have bordered on being derogatory and caricature-ish, and typically played for laughs. Still, despite all the Golmaals and the Humshakals, there are some instances of male actors dressing up as women that do the job, give the feels and are also great fun to watch.
Kishore Kumar plays a man, woman and child in Half Ticket (1962). (Yes, you heard us right.) Kumar as Vijay pretends to be a child because he cannot afford a train ticket at full-price and along the way finds himself dressed as a woman, and performing to a crowd of villagers. Never mind the details of the plot, just skip to ‘Aake Seedhi Lagi Dil Pe’, because Kumar is clearly having the time of his life. Not only does he sing in two pitches — high for the woman, and low for the man — he also dances in drag with all the mischievous glee that you can imagine.
In the 1968 film Kismat, Biswajit’s character Vicky is being chased by goons and what better way to evade them than by dressing up as a woman. In the song ‘Kajra Mohabbat Wala’, Vicky and his love interest (played by Babita, also cross-dressing as a man) run circles around the bad guys. Biswajit is grace personified as he performs the song in complete earnest, decked up in an elaborate outfit, wig and make-up. His ada and nakhra are on point — something Biswajit revealed he picked up as a child watching men in his neighbourhood play female parts in local plays. The song, composed by O.P.Nayyar, reportedly inspired men in cinemas to shower coins at the screen when Biswajit would appear in drag.
In this beloved Tamil film adapted from Mrs. Doubtfire — the 1993 American comedy starring Robin Williams — Kamal Haasan plays Pandian, a humble choreographer who poses as a nanny when his wife leaves him, taking their daughter with her. With his marriage breaking down, Pandian finds an unusual way to stay in touch with his daughter: He dresses up as the respectable Avvai Shanmugi, an older woman who is hired to be the little girl’s nanny. At the heart of the transformation lies a parent’s profound love for their child, which comes across beautifully in Haasan’s performance. Plus, there’s the legendary fight scene — with Haasan wearing an impeccably-tied sari — in the market. The actor went on to make his directorial debut with the Hindi remake of the film a year later, reprising his role in Chachi 420 (1997).
This 2011 Marathi-language film tells the story of gifted singer and stage actor Narayan Shripad Rajhans, also known as Balgandharva. The narrative is set in a time when women weren’t allowed to participate in the performing arts, and actors like Balgandharva played the female roles. In the face of constant taunts and imminent bankruptcy, Balgandharva maintains his dignity as a performer: “I will repay my debts. I will prove my masculinity while wearing (women’s) bangles.” Subodh Bhave brilliantly captures the artist’s gentle charisma and passion for the stage. Resplendent in rich saris and heavy jewellery, Bhave’s performance as Balgandharva’s women characters is restrained and elegant, particularly in the songs ‘Vad Jau Kunala Sharan’ and ‘Nahi Mi Bolat Natha.’
Set against the backdrop of the medieval fair known as Mamangam, this 2019 Malayalam period film stars Mammootty as a legendary warrior. For fear of being branded as a traitor, his character Chandroth disguises himself as someone we might now describe as non-binary. The new persona he adopts is best highlighted in the song ‘Peelithirumudi’, where Mammootty dons traditional attire and dances gracefully, using noticeably feminine gestures, accompanied by a host of women from the community. Without taking recourse in stereotypical limp-wristed behaviour, the actor carries himself with a quiet, serene dignity, and his lively expressions are a joy to watch.