How portrayal of land, property in Hindi cinema reflects changing times

Intertwined with the fabric of society, real estate and property ownership have long been the subject of scrutiny. As Adam Smith, the economist, observed, “Wherever there is great property, there is great inequality.” 
 

His statement encapsulates the complex relation between ownership and disparity, a theme explored in both economic discourse and cultural narratives, Indian cinema included. 
 

At the heart of these stories lies a universal truth: The pursuit of a place to call one’s own, a quest as primal as the human need for shelter itself.
 

Over the years, the portrayal of real estate in Hindi cinema has evolved, reflecting changing societal dynamics and cultural shifts. The early depiction of conflicts over property between affluent industrialists and small-scale landowners were captured in the timeless 1953 classic Do Bigha Zameen starring Balraj Sahni, in what Marxists would call an eternal class struggle.

A place to call home
 

However, as the 1970s rolled in and the aspirations of a rapidly urbanising nation soared, Bollywood rolled out films that captured both the dreams and struggles of middle-class city-dwellers longing to own a house in a metropolis.
 

Gharaonda (1977), starring Amol Palekar, is a case in point. The protagonist, Sudip (played by Palekar), embodied the aspirations of many urban-dwellers at the time, yearning for stability and security in a swiftly changing world. 
 

His journey, marked by obstacles created by a fraud builder who runs away with his hard-earned money, and the subsequent heartaches caused by the incident, resonated with audiences, evoking empathy and introspection. And then, of course, who can forget the melodious tunes of “Do deewane sheher mein, raat mein ya dopahar mein, aab-o-dana dhundte hai, ik aashiyana dhundte hai”?
 

The movie’s visualisation of Mumbai, from cramped chawls to upcoming gleaming high-rises, turned the cityscape into a character in itself, symbolising the juxtaposition of tradition and modernity, aspiration and harsh reality.
 

Holding the fort
 

As India underwent liberalisation in the 1990s and subsequently started seeing economic growth, the portrayal of real estate in Bollywood films transformed as well. 
 

Remember the first decade of the 21st century, when corruption had become the buzzword?
 

Khosla ka Ghosla (2006) turned the spotlight on one such period, delving into the complications of property ownership. It exposed the challenges faced by individuals against corruption and deceit as the Khosla family goes all out to protect its hard-earned plot from the clutches of a ruthless real estate mogul.
 

Through its sharp wit and relatable characters, the film exposed the absurdities and injustices inherent in the real estate market, while also celebrating the resilience of the human spirit.
 

Against the odds
 

Another cinematic venture that captured the shifting landscape was the 2018 film Love Per Square Foot. The film opened with a reality familiar to many urban Indians – the struggle to find affordable housing in a city where space is a luxury. 
 

In a bid to secure a place of their own, the protagonists enter into a contract marriage, a ruse to qualify for a government housing scheme reserved for married couples. Here, the plot entwined romance with the longing for property, blurring the lines between love and real estate.
 

The characters’ quest for a “square foot of love” mirrored the age-old obsession with property ownership as a marker of success and stability.
 

Old is gold
 

The thirst to own a property isn’t confined to the young and the aspirational. 
 

In Gulabo Sitabo (2020), the doddering old Mirza, portrayed by Amitabh Bachchan, established that this is an age-agnostic quest.
 

The lust for home ownership formed the foundation of this cinematic gem by Shoojit Sircar, which followed the eccentric landlord, Mirza, and his tenant, Baankey (Ayushmann Khurrana), into the world of Lucknow’s crumbling havelis where the timeless conflict between those who possess property and those who covet it continues to play out. 
 

Greed, ego and attachment to ancestral hissa  (shares) nourish the soil from which this dark comedy springs, exposing how the longing for land can become a near-existential obsession.