CLASSY, CATCHY OR CRASS?: Why Bollywood’s Obsession with ‘Item’ Songs Needs To End
When we speak of the term ‘item song,’ what do we think of? A lively track, a glamorous performance, a star at the center—but wait, why then do we use the term ‘item’? An item is an object, something to be possessed and desired. In these songs, the ‘item’ is almost always a woman.
We grew up humming tunes like ‘Baby Doll’ and ‘Sheila Ki Jawani’ without a second thought. These songs are played at parties, marriages, and celebrations, becoming a part of our daily life. But did we ever pause to think—what are these songs really saying? Have we ever considered the message they are sending about women and their portrayal on the screen?
Item songs have been a staple in Indian cinema for decades, evolving with changing times and audience tastes. In the 70s, songs like ‘Piya Tu Ab Toh Aaja’ from Caravan (1971), performed by Helen, were playful and seductive, often performed by supporting actresses to add a hint of glamour. Fast forward to the 90s, and we saw the rise of actresses like Malaika Arora, whose iconic performance in ‘Chhaiyya Chhaiyya’ from Dil Se (1998) turned item songs into high-energy dance numbers that became an integral part of the film’s appeal. Today, item songs still serve the same purpose, capturing attention, but they now often feature confident performances and increasingly explicit content.
Item songs in Indian cinema are produced to be irresistible earworms, masterfully crafted to amaze audiences with their catchy melodies, upbeat tunes, and provocative choreography. These songs are often positioned as standalone spectacles within films, often featuring top actresses in special appearances.
Producers recognize the undeniable commercial pull of such songs. They are aware that a single catchy track on the film’s music album can significantly boost a visibility as well as box office numbers. In fact, the success of a film is sometimes attributed more to its item songs than its storyline, direction or performances. According to a 2018 survey conducted by Bollywood Hungama, films with popular item songs reported a 20-30% increase in opening weekend collections compared to those without.
Moreover, item songs are strategically promoted to increase audience engagement. Teasers and behind-the-scenes clips are released before the film to build hype, and the complete song often premieres on music streaming platforms before the film’s release. This formula has led to an entire sub-genre of Bollywood music, where songs are produced primarily to entertain rather than advance the plot.
But here comes the problem— item songs often reduce women to mere objects of desire, portraying them as commodities rather than as individuals. The lyrics, choreography, and costumes are fabricated to emphasize sexuality, most often at the expense of dignity. For instance, songs like Sheila Ki Jawaniand Fevicol Se not only use provocative language but also present women as being defined solely by their physical attributes. This portrayal reinforces the harmful stereotype that women’s value lies primarily in their ability to entertain men.
Another problem posed is that the popularity of item songs often overshadows the more meaningful narratives within films. Producers and directors prioritize creating viral numbers over impactful storytelling. As a result, item songs become the film’s primary selling point, leading to a dilution of cinematic quality. This trend is quite problematic as it perpetuates a formulaic approach where superficial entertainment takes precedence over artistic depth. In the long run, this not only hinders creative innovation but also influences audience expectations, making them value glamour over substance.
While some may argue that item songs in Bollywood are a form of self-expression and empowerment for women, this perspective often overlooks the core issue here: objectification cannot be defined as agency. Some claim that these performances allow actresses to own their sensuality and command the screen with their presence. However, this argument falls apart when we closely consider the lyrics and visual representation of such songs.
Take, for instance, songs like “Fevicol Se” from Dabangg 2, where the lyrics state, “Main toh tandoori murgi hoon yaar, gatkale saiyan alcohol se” (I’m like tandoori chicken, my lover devours me with alcohol). Or in “Sheila Ki Jawani” from Tees Maar Khan, where the lyrics boast, “My name is Sheila, Sheila ki jawani, I’m too sexy for you”—the focus here is squarely on portraying women as objects of desire rather than individuals with agency.
Moreover, the way item songs are often set up—a room full of men watching a woman dance provocatively, perpetuates the narrative that a woman’s purpose in such scenarios is to entertain and be consumed visually. So then, as long as the portrayal revolves around satisfying the male gaze, calling it ‘self-expression’ is misleading and problematic.
In the recent years, there has been a growing recognition within Bollywood that item songs contribute significantly to the objectification of women. Therefore, quite a few industry insiders are now actively rethinking their approach. For instance, renowned filmmaker Karan Johar publicly acknowledged his past mistakes, admitting that his movies often featured item numbers that portrayed women in a reductive, objectifying light. He expressed guilt and promised to move away from such depictions in his future film productions. Similarly, actress Radhika Apte has taken a firm stance against participating in item songs that serve purely to objectify, while announcing that she would never perform a number where the primary focus is her appearance rather than her artistic expression. These candid acknowledgments mark an important cultural shift within an industry that has been traditionally slow to critique its own practices.
While Bollywood undoubtedly sets the stage, it is eventually the audience that keeps the performance alive. Item songs continue to be made because they are celebrated, shared, and most importantly, demanded. As viewers, we tend to overlook how catchy beats and glamorous visuals can mask problematic ideas. It is high time we stop passively consuming content that reduces women to mere objects for our entertainment. The change doesn’t lie solely with filmmakers; it starts with us. If Bollywood keeps serving item numbers, it’s because we keep showing up for the show. Let us make a conscious choice to end this cycle of objectification—one song at a time.
By: Alayna Malhotra
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