Why age hole romance nonetheless regulations Indian cinema: Govind Namdev, Shenaz Treasury, Vivek Agnihotri, Anant Mahadevan, Rahul Bhat and others talk about the reality at the back of undying males and invisible ladies – Exclusive | Hindi Movie News – Times of India

In the arena of Indian cinema—the place fable meets formulation—few tropes have persevered as stubbornly because the tendency to pair ageing male superstars with a lot more youthful feminine leads. What was once as soon as approved with out query is now being challenged extra vocally—by means of audiences, actors, and filmmakers alike.From veteran performers to outspoken critics, many are starting to interrogate now not simply the optics of those on-screen pairings, however the deep-seated ideology that fuels them. The verdict? Male stardom remains to be synonymous with undying attraction, whilst feminine desirability is tightly shackled to formative years.In this particular characteristic, ETimes gathers unfiltered insights from trade insiders who lay naked the gendered dynamics of Indian cinema’s maximum arguable romantic formulation.The vintage formulation: older male superstar, younger feminine lead

Veteran actor Govind Namdev sums up the mindset at the back of this casting pattern: “The audience will only like it if there is pairing. Otherwise, why would there be? The producer who invests so many crores, he invests it with the hope or with the observation that people like this pairing.”For many years, business common sense has saved this formulation alive—pairing a well-liked, ageing male superstar with a tender heroine is observed as a secure guess on the field place of business. Namdev explains, “Like Salman Khan, Shah Rukh Khan, Ajay Devgn — their heroines are always young. The public likes this pairing, and producers spend crores betting on it.”This thought of “audience preference” displays extra than simply trade sense—it unearths a societal mindset the place males are anticipated to age gracefully, whilst a girl’s worth is tightly tied to her formative years.“Patriarchal, clichéd, and unrealistic”

Actress Shenaz Treasury provides a pointy critique of this pattern: “Unrealistic. Patriarchal. Cliché. Unless the script actually acknowledges the age gap, I’m out. If they cast a 50+ woman opposite a 25-year-old man? Now that would be interesting. Let’s flip the script for once. But most times, they just pretend the man is ageless and the woman… invisible after 35. So unless the story has something real to say about that dynamic, I’m not buying it.”She issues out how steadily the age distinction is overlooked in scripts, as though males don’t age and ladies merely vanish after 35. She says, “Sadly, yes. Aging is treated like a scandal. ‘OMG she’s 43!’ – they say it like it’s a crime. Not ‘Wow, she has so much life experience, depth, and power.’ We shame women for getting older, then wonder why everyone’s injecting fillers into their faces at 30. And the worst part? Talent doesn’t always save you. Wrinkles are still a bigger problem than weak scripts.”Treasury’s phrases spotlight the double same old ladies face each on-screen and stale—the place look issues greater than skill, and ageing is handled like one thing shameful.The double same old: males age, ladies disappear

Filmmaker Vivek Agnihotri sums up the gender imbalance obviously: “When I started my career in 2005 with Chocolate, I realized that almost all actors, regardless of their age—whether 40, 50, 60, or 70—insist on having a younger heroine. In fact, there was a time when directors were pressured to sign only young actresses, and this is also a tradition in the South. If you look at South Indian cinema, no matter the hero’s age, the heroine has to be young, fair-looking, and sexy. So, what does this indicate? It basically indicates that the role of women in our films is only for three criteria: they have to be young, sexy and desirable. And it is considered that the desirable age is only when you are young and not married.”He issues out how males’s ageing is lost sight of and even celebrated, whilst ladies’s careers drop off after they marry or get older: “A hero can have five marriages, affairs, get as old as he wants, do VFX to his face, shoot with body doubles… nothing matters because we make hero worshipping films, not heroine worshipping ones.”Agnihotri’s phrases divulge the patriarchal machine that helps to keep male stars on a pedestal whilst ladies are driven apart as they age. “No matter how talented an actress is or how good her performances are, once she gets married or is seen to be in a relationship with someone, her demand suddenly goes down,” he provides.Searching for brand spanking new tales: actors need significant rolesGovind Namdev stocks a extra hopeful take in line with converting target market tastes: “These days, people are liking biographies more. They are liking stories coming from real incidents… If people like my work, they want to see me in a new form.”He welcomes roles that let for contemporary, unconventional pairings: “If I am paired with a heroine, I will get to see something new… On screen, as a performance, we will get to see something new, there will be some new movements.”Namdev’s perspectives counsel audiences are in a position for tales that discover romance past younger glamor—tales with older characters who carry emotional intensity and authenticity.

Industry inertia slows exchangeDespite rising requires extra real looking and numerous storytelling, Bollywood’s previous energy constructions stay development sluggish. Agnihotri feedback: “There are very few heroine-centric movies made in our industry. And even those are typically made when leading actresses get married, have children, retire, or reach an age where they can no longer be paired with a male hero—only then are they cast in such roles. This is a very male-dominated industry. It has been like this for umpteen number of years and I have a feeling it’s going to remain like this for a very long time.”He additionally unearths how superstar egos affect casting selections: “Heroes also dictate on the set… if a heroine is taller, they will stand on stools or use tricks to appear taller themselves.”This presentations how patriarchy controls now not simply tales, however all the filmmaking procedure—reinforcing previous norms.Agnihotri elaborates additional: “Another problem is that the roles, the way they are conceived and written is only, only, only to boost the ego of the star, not of the character. We don’t write character-driven roles, we write star-driven roles. We want the star to be so happy with those, writing of those roles that he should say yes to the film then and there. And another problem is that heroes also dictate on the set, you know. Like a taller heroine, no, no, then heroes will get a patla and they will stand, which means a six-inch stool or three-inch stool and they’ll stand on that. So taller heroines generally have an issue over there. And in any scene if a heroine is dominating a lot, now this is a secret nobody wants to talk about, but in a scene where heroine is really dominating or her performance is better than the hero, then very often her performances will be trimmed or she may be speaking dialogues but the camera will stay on the close-up of the hero. This is a very, very common thing in commercial films. As far as I am concerned, I don’t make those kind of films, I make very, very realistic films, so I don’t see that problem. And in my film, all the heroines are very, very powerful, they don’t depend on the men at all. In fact, they challenge men. If you look at Buddha in a Traffic Jam, same case. If you look at The Tashkent Files, the main lead actress was a heroine who challenged the entire system. In that, the role of Pallavi, though she is handicapped on a wheelchair but a very powerful role. If you see The Kashmir Files, again you will find on one side there is a woman who is a victim but on the other side there is a woman who is challenging the system and changing the system. Yes, that was a kind of a negative role. If you look at it from one perspective, from another perspective, it’s a very, very powerful role. And same in the case of The Vaccine War. Vaccine War was about Indian women scientists and we celebrated them. Women scientists say, we can do it. And my next film, The Bengal Files, again has very, very, very strong women roles. In fact, I would call it a woman-centric film. So I don’t face that problem and I deliberately do that because that’s how I look at women.”Actress Sohaila Kapur sums it up with piercing readability: “Simple answer. We are a society still stuck in patriarchy.”Reimagining romance: What the longer term may just seem likeShenaz Treasury believes it’s prime time love tales mirror actual existence higher. “Make a love story about people in their 40s or 50s — post-divorce. Or a woman in her 50s with a 38-year-old man. Now that would be more real and romantic.”When requested what desirability way for ladies on display screen — and whether or not that definition is converting — Shenaz says, “Women also like looking at hot men. Period. So let’s stop pretending it’s only women who need to look good. When I was growing up, men could have paunches and still be romantic heroes. Now they’re hitting the gym too — and I’m thrilled about that.”On how patriarchy influences the way in which romance is written and visualized in Indian cinema, she doesn’t cling again: “So many rom-coms still feel like they were written by a 60-year-old uncle who thinks women don’t age and men don’t need therapy. The power dynamic is always tilted. Women have to be perfect. Men just have to show up. But times are changing — slowly. We need more scripts where love feels equal, age is real, and desire doesn’t only belong to the 20-year-olds.”She urges filmmakers to turn the script and embody mature storytelling: “Women definitely look better as they age because they take care of themselves. Compare a 50-year-old Indian woman to a 50-year-old Indian man — who’s sexier? Men don’t take care of themselves as much as women do.” Her candour demanding situations the dual biases of ageism and sexism head-on.Veteran standpoint: Anant Mahadevan on skewed pairings

Director Anant Mahadevan issues out the long-standing double same old. “The fixation on pairing has been a recurring issue for decades. An ageing male lead is no deterrent for filmmakers or audiences. We’ve seen 30-plus, even 40-plus, actors playing college students. But the lens isn’t as kind to female leads — marriage alone can lead to their declassification, let alone aging. It’s a myopic view of filmmaking.”He contrasts this with the West: “In Hollywood, female leads age with grace and are entrusted with mature characters. Here, we seem to doubt the appeal of our female talent. It’s just one of many clichéd ways we look at storytelling.”Breaking the mildew: Rahul Bhat on chemistry and connection

Actor Rahul Bhat rejects the perception that romance is the area of the younger. Asked if he’d be relaxed enjoying a romantic lead reverse an older or same-age actor, he responds, “Absolutely. I think chemistry isn’t defined by age — it’s defined by connection, energy, and truthfulness in performance. We rarely see it because the industry has long fed into a one-sided fantasy: that men can age but women must remain frozen in time. That narrative is being challenged now, thankfully, but we have a long way to go.”He’s transparent at the want for fairness in storytelling. “Older actresses not only deserve to lead love stories — they need to. Love doesn’t expire at 35. In fact, it deepens. Women who have lived, loved, lost, and evolved have far more textured stories to tell. Why should those stories be denied a romantic arc?”On portraying love throughout an age hole, he provides, “It depends on how the story handles it. If the age gap is there to titillate or pander, it feels forced. But if it’s honest and rooted in character, it can be incredibly moving. As actors, our job is to find that emotional truth — age should add layers, not limitations.”He additionally calls out the trade’s long-standing bias: “Scripts have long equated desirability with youth. But the good news is, that’s changing. Actresses like Vidya Balan, Konkona Sen Sharma, Shefali Shah, Neena Gupta — they’re leading love stories with incredible grace and depth. Audiences are responding. The industry just needs to catch up.”Sadia Khateeb: Acting transcends age

Sadia Khateeb, who starred in The Diplomat, stocks a grounded standpoint: “I mean, as long as actors are comfortable being paired opposite each other, it does not matter if the girl is older or vice versa. Acting is a job where one has to act; it has nothing to do with realism.”She emphasizes that casting alternatives will have to serve the tale and the director’s imaginative and prescient: “If the director has a vision and the script demands such a pairing, then as actors, we have to fulfill that vision and make the story work.”However, Sadia additionally calls out the pressures ladies face: “I hope seeing ageing of women as an expiry date changes over time; it’s a deeply rooted stereotype that has been ongoing not just in the industry, but in society. Women, after they cross a certain age, have a lot of pressure. Age shaming women is somehow a conditioning that has happened over the years — a sort of patriarchy. I hope and pray this changes eventually. Ageing is beautiful; it means you are living.”Time to develop up: Sandiip Sikcand’s blunt take

Actor and inventive director Sandiip Sikcand doesn’t mince phrases. “It’s ridiculous to see men in their 60s dancing with heroines old enough to be their daughters. Even audiences recognize the disconnect — that’s why these films live on hype and Instagram reels but flop at the box office.”He urges Bollywood to mature. “The same old stories, senior actors refusing to age, and talented women not getting the right roles — this all needs to change fast. More than stars or projects, Bollywood now needs stories and actors.”Sikcand issues to world examples of development. “In the West, women do their best work after 30. Even the South gives actors fabulous platforms — their finest work often comes when they act their age.”Power imbalances in casting: Rajesh Tailang weighs in

Actor Rajesh Tailang highlights the deeper drawback. “Bollywood’s romantic pairings aren’t just about chemistry — they mirror the industry’s power imbalance. The more powerful the male star, the less expectation there is for him to play age-appropriate roles.”He stocks a private instance: “Meanwhile, I’m cast as the father of actresses who are paired opposite heroes 3–4 years older than me.”Ego and tradition: Karan Razdan’s standpoint

Writer and actor Karan Razdan strains the problem to deep-seated ideals. “There’s an old Indian saying — a man never gets old. And I think the industry takes that literally. Whether it’s Mumbai, Chennai, or elsewhere, the hero’s ego still needs validation through a younger heroine.”Signs of development: Karan Singh Chhabra on transferring dynamics

Actor Karan Singh Chhabra notes that adjust is visual, particularly on streaming platforms. “If you look at recent web series, Bhumi Pednekar — who is older than Ishaan Khatter — is romantically involved with him, and the story requires that.”He’s hopeful concerning the route issues are heading. “Young actress, older actor, older actress, younger actor, same-age pairings — everything’s being explored now. Times are changing, and the audience is evolving.”Beyond Bollywood: Mozez Singh on societal bias

Director Mozez Singh expands the lens. “This entire concept is ageist and misogynistic — and it must change. Unfortunately, it’s not just films. In real life too, an older woman with a younger man is still seen as odd. But the reverse is normal.”He reminds us that cinema is a replicate. “The problem is bigger than Bollywood. Films reflect society — and that’s where the real work must begin.”Conclusion: Time for a brand new love taleThe age-gap romance trope in Indian cinema isn’t only a casting quirk. It’s a mirrored image of deeper societal norms that favour male stardom and feminine formative years. But voices around the trade — from actors to administrators and writers — are actually difficult the established order. The urge for food for actual, nuanced, and inclusive love tales is rising. And slowly, however indisputably, the script is starting to turn.