5 Bollywood Movies Where The Girl Ended Up With The Wrong Guy

There are many Bollywood movies in which the female protagonists end up with the wrong guy. While this subject is very controversial and highly subjective, the factors that provoke such arguments are mostly unobserved or are chosen to be unseen because of the ‘happily ever after’ ending. Here are some movies that support the perspective:

Pati Patni Aur Woh

The movie has borrowed its concept from a movie under the same name, made by Sanjeev Kumar in 1978, only with contemporary changes. In this movie, Chintu Tyagi (Kartik Aryan) is happily married to Vedika (Bhumi Pednekar.) However, we further see him develop a sort of infatuation for his client Tapasya (Ananya Panday.) This act of his is justified as an attempt of breaking out of his ‘monotony.’ They secretly have an affair, which most would not object to because nothing ‘physical’ happened between them. Also, it is a tendency of men to eye other women, and it is the responsibility of women to show them the right path. Running along this exact moral, Vedika planned out an entire scene to bring back her husband into senses, when she should have simply broken off her marriage and ended the movie with her pride and ego secured. What makes it worse is that the movie ends with a scene wherein we see Kriti Sanon enter, and, Chintu forgets all his former promises to Vedika. Thus starts at the end of the movie a new infatuation that Chintu develops. Vedika would have been unquestionably better off without such a fickle-minded husband.

Gully Boy

In this movie, Murad is played by Ranveer Singh and Safeena by Alia Bhatt. Right from the start of the movie, the viewers are exposed to their relationship. What breaks our heart is the immediate surrender of Murad when Sky (Kalki Koechlin) kisses him. We expect Murad to back off. Nevertheless, the kiss intensifies.
Further, there is no confession on the part of Murad. Safeena had to figure it out on her own. After which, one would want Murad to make it up to his girlfriend and apologise. That, sadly, was not the case, either. Safeena had to fake accepting the marriage proposal of his friend. This exasperated Murad, and suddenly awoke his lost love for Safeena. Only, then, he went to visit Safeena and confessed his still-existing love for her. Who is to tell he wouldn’t do it all over again when he comes across someone cooler than Safeena? Who is tell this time he will try to make amends with Safeena himself?

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Biwi No. 1

This movie was a huge success when it came out on May 28, 1999. However, most missed how problematic the character of Prem (Salman Khan) was. He is shown married to a stereotypical Indian house wife Pooja (Karishma Kapoor,) always clad in a saree and keeping together the entire family by looking after the wants of all, including her mother-in-law. When a model named Rupali (Sushmita Sen) enters Prem’s life, his taste in women undergoes a drastic change. All at once, Pooja was too unmodernised to spend his life with. He has a secret affair with Rupali and when the cat was out of the bag, Pooja asked Prem to choose. That was her first mistake. There should be no choice given to a man who is not abashed of committing acts as such. Prem, sticking to his new taste in women, chooses Rupali. That should have been it.
However, with the help of Prem’s friend, Pooja gets a makeover and starts wearing clothes which apparently are unsustainable for married women with kids but are very suitable for modern girlfriends. To her wearing short clothes, Prem objected. Furthermore, when Pooja sends the kids and his mother to live with Rupali and Prem, the pack makes it purposefully difficult for Rupali to deal with. That is when he realised what ‘kind’ of women can really take care of a household, and his taste shifts again from modern, to sanskaari, and Pooja accepts him with open arms. Such an indecisive man deserves no woman at the end. No woman has to justify her worth to a man to make him realise his love for her.
This movie somewhat resembles the idea of ‘Pati Patni Aur Woh,’ wherein the women have to strategise to get their men back, who, undoubtedly are not fit for forgiveness.

Bajirao Mastaani

The entire movie is based on the struggle of Bajirao (Ranveer Singh) and Mastani (Deepika Padukone,) but the yearning of Kashibai (Priyanka Chopra) for her husband doesn’t miss our eyes. While Bajiroa was in desperate love with Mastani, he couldn’t help but not feel the same for Kashibai. Kashibai is a strong character, and protects her vanity by asking Bajiroa to never return to her chamber. However, her love for him remains faithful and she helps the two in all ways that she can. Bajirao was the man of her dreams, but the wrong one.

Kabir Singh

This blockbuster movie was a remake of Arjun Reddy. Kabir Singh played by Shahid Kapoor is shown as an aggressive character. He is highly narcissistic and decides at first sight that the first year student Preeti (Kiara Advani) is his ‘bandhi’ without having her approval on the same, and destroying Preeti’s chance at college romance with any other boy, whatsoever. At first, Kabir forces Preeti to leave the class and study with him, which Preeti dislikes but does it anyway out of apprehension. Gradually, she ‘adjusts’ to Kabir’s anger problems and reciprocates the love. It is not her fault that her father disapproves of their relation, but Kabir blames it all on her. He also slaps her when she comes out to try and come up with a solution. He gives her six hours to decide the fate of their love. Preeti even comes to visit him within those six hours, but this egomaniac drinks and injects morphine in himself and passes out. There is no option for Preeti but to marry another guy. At the end of all this, Preeti accepts Kabir, declaring it wasn’t his fault.

However, it evidently was. Preeti was an independent and an educated character who didn’t have to bear with Kabir’s constant abuses and anger. The moment he insulted her father, slapped her and timed their love should have been the last breath of the relationship. He should never have deserved another chance, especially when he couldn’t keep himself in line. Respecting each other should be the base of every relationship, and clearly Kabir was a misogynist, who should have had to live with his mistakes all his life.

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In this patriarchal world, and especially when India is taking steps towards women rights, Bollywood shouldn’t encourage movies where female leads live but to deal with their egocentric male lovers. Movies like Bajirao Mastani highlight strong female leads, but movies like Kabir Singh bring it all down in a flash. At no moment should a man feel superior to a woman. Bollywood plays a major role in India. Filmmakers should use it in a way to discourage misogyny and encourage equality.