Amitabh Bachchan: the Angry Young Man
16 November 07
Amitabh Bachchan's Angry Young Man roles defined his career and epitomised the moral heart of the Indian nation, writes Rachel Dwyer.
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Amitabh Bachchan is often called the 'Angry Young Man' of Indian cinema, a term inspired by realist London theatre of the 1950s, in particular Osborne’s Look Back In Anger. Much as Amitabh is still celebrated for his wide-ranging performances as romantic hero, dramatic lead, comedian and now elder statesman, it is the roles he played as the AYM for which he is most celebrated.
This defiant character, who appeared across several films in the 1970s and 80s, was typically called Vijay ('Victorious'). Created by writers Salim (Khan) – Javed (Akhtar) as an epic hero rather than a novelistic type, he clearly paralleled Karna in the great Indian epic, the Mahabharata. Like Karna, Vijay faces frequent childhood injustice: seeing his parents killed (Zanjeer), growing
up without the father who abandoned his mother before marriage (Trishul), or losing the whole family after a dispute at work (Deewaar). Bachchan embodies the besieged male hero in a precarious world who fights a personal war against injustice – specifically the wrongs done to him and his family.
The power of these films is their ability to portray an outraged but sympathetic character. Despite his ongoing struggles, Amitabh as Vijay maintains his self-respect, gains respect from others and is a model of moral rectitude, especially in his interaction with women, elders and children but also in upholding his religious beliefs. He is fierce but controlled and noble, never losing his dignity but robbing others of theirs. Vijay is not a rebel. His fury is not random but focused on righting moral wrongs, which he pursues at the risk of his own life.
Amitabh as Vijay differs from other 1970s 'AYMs' such as Bruce Lee, Robert De Niro or Clint Eastwood. He is not an isolated vigilante subversively taking the law into his own hands but rather an upright man, motivated by family justice. The viewer empathises with Vijay’s anger and his humiliation. He is sad but admirable in his self-sacrifice and fortitude, even when he is doing wrong. We share his pain. We believe he is right, at least most of the time, and that his desire for vengeance is virtuous.
It is perhaps for this reason that Amitabh’s Angry Young Man had such far-reaching cultural impact. For many young Asians the world over, he epitomised a heroic masculinity whilst providing a link to India, its traditional values and a proud, unapologetic sense of self. He was also celebrated as the ideal son, deeply attached to his mother, who would look after family when the father failed. His brooding good looks (and lack of interest in women) added to his appeal.
Amitabh Bachchan, Hindi film’s biggest star, is a great communicator of the moral sentiments while his juniors, especially Shah Rukh Khan, often specialise in depicting the tender ones. Compassion is beautiful but, as Kant says, it has no moral worth in itself, although if it motivates us to care then it has. Indian film still wants the moral hero and, even today, there is only one that will do.
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