Transitional Mediations: Homosexuality in My Brother Nikhil, 68 Pages, and Quest/Thaang

  • Oliver Ross


Until the 1990s overt representations of homosexuality were almost unknown in popular Indian cinema, but examples of intense male homosociality have been prevalent throughout the hundred-year history of the medium. Most critics agree that this reached an apogee in the “buddy” film of the 1970s and 1980s; in works such as Namak Haram (Forbidden Salt) and Andar Bahar (Inside Outside), male homosocial attachments eclipse male–female bonding, with the male protagonists frequently declaring their indissoluble commitment to their yaars or dosts.1 This relationship, often articulated in song, is portrayed as all-conquering and eternal. To see this in action, we need only turn to “Yah Dosti,” Jai (Amitabh Bachchan) and Veeru’s (Darmendra) famous duet in Sholay:2


Indian Culture Female Protagonist Unconditional Love Good Practice Model Male Protagonist 


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© Oliver Ross 2016

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  • Oliver Ross

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