Triptii Dimri is on the cusp of something big in Bollywood. With multiple movies set to release this year, her portrayal of “Bhabhi 2” in Animal seems to be what caught the attention of big producers. She’s been extra busy this year with back-to-back projects like Bad Newwz, Vicky Vidya Ka Voh Wala Video & Bhool Bhulaiyaa 3.
Dimri’s previous work in Laila Majnu, Bulbul, and Qala received praise for showcasing her emotional depth and nuanced performances. In those roles, she wasn’t just a face or a body, but a force that carried the weight of the story. These films allowed her to demonstrate a range of skills – showing that she is, without question, a capable actor. Yet, her recent projects, like Animal & Bad Newwz, a film more inclined towards mainstream entertainment, have left many wondering if her talents are being watered down for mass appeal.
As audiences discuss Dimri’s trajectory, one can’t ignore the troubling reality of how women, even the most talented ones, are often funnelled into roles that demand they reveal more skin than their abilities. Dimri’s latest songs like Jaanam which focuses more on sexualising her body than showcasing her talent, feels emblematic of a larger trend in Bollywood, where female actors are objectified to sell tickets.
Feeling really sad for Tripti Dimri, she deserves better roles.pic.twitter.com/9HeKsh1fk4
— Satyam (@iamsatypandey) September 23, 2024
This raises a crucial question: Why is it that actresses, at the early stages of their careers, seem to be more susceptible to being cast in roles that exploit their bodies? Is it because they haven’t “made it” yet, unlike more established stars such as Alia Bhatt, who now has the freedom to choose roles that showcase her acting over her appearance? Bhatt, too, once played roles where she had to conform to Bollywood’s obsession with the male gaze. But now, after having “proven” herself, she appears to have earned the freedom to portray herself in a way that aligns more with her self-image than industry standards.
This isn’t unique to Triptii Dimri. Many women in Bollywood have, at one point or another, been subject to roles that sexualise them. Whether it’s item numbers, suggestive dance sequences, or parts that require little more than looking glamorous, the industry’s commercial model often prioritises objectification over talent. And unfortunately, it works. Audiences continue to buy into this portrayal, making it financially rewarding for filmmakers to perpetuate. How else does that explain the huge box office collection difference between Animal and Sam Bahadur, two movies that released on the same weekend?
But is this really the price of “making it” in Bollywood? Must actresses – no matter their talent – be sexualised to establish themselves, only to one day escape this cycle when they’ve accumulated enough success? It’s an unsettling thought. As much as we like to believe that Bollywood is evolving with more stories that explore women’s depth and complexity, the industry still profits from the commercialisation of its actresses’ bodies.
Triptii Dimri’s career is at a crossroads, and it remains to be seen how her trajectory will unfold. Will she be able to break free from roles that focus on her image as “Bhabhi 2” and return to the kind of storytelling that brought out her true potential? Or will she, like many before her, have to navigate the objectification path before she is seen as a serious actor?
What’s clear is that the industry, and the audiences, must change their expectations. Women should be valued for their abilities from the start. Until that shift happens, we will continue to see actresses – no matter how talented – pushed into roles that value their bodies over their brilliance.
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