Women are situated in the ‘good woman’/‘bad woman’ Indian/Western binary that some cross when they revert to saris and sabhyata* for the hero, like Parveen Babi and Zeenat Aman for Amitabh Bachchan in Deewaar and Dostana (and Sunanda for Roshan). Modern women are made to repent in the end, says Moudgil, “by a twist in the plot or the ever-dependable slap with a one-liner that this disciplinary measure should have been taken a long time ago.”
