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How to read this selection
A character’s occupation alone does not make a song a portrayal of work. Deepika Padukone’s architect in Piku, for example, is a working woman, but no song shows her doing architectural work. The examples below come from Ashwini Deshpande’s explicitly partial list for Scroll.in; they are not a census of Hindi cinema or evidence about real-world employment rates.
They also vary in what they show. Some sequences depict work in progress; others introduce a worker, establish a workplace, or frame a professional journey. A hospital backdrop, for instance, does not necessarily show medical duties.
Offices and corporate work
Office banter and romance
- “La Ra Lappa,” Ek Thi Ladki (1949): In an office setting, women accuse men of throwing their weight around without doing substantial work; the men call women lazy. The women predict they will take over these spaces, and Meena Shorey sits emphatically in the office chair.
- “Jaane Kahan Mera Jigar Gaya Ji,” Mr. and Mrs. 55 (1955): An office romance featuring Yasmin and Johnny Walker.
- “Jaaneman Jaaneman,” Chhoti Si Baat (1976): Vidya Sinha is shown doing office work, alongside a film-within-a-film fantasy.
Corporate workplaces
- “Lamha Lamha Zindagi Hai,” Corporate (2006): Bipasha Basu appears as a corporate executive working in an office.
- “Hey Ya!,” Kartik Calling Kartik (2010): Deepika Padukone works in the same office as Farhan Akhtar.
- “Heer to Badi Sad Hai,” Tamasha (2015): Deepika Padukone is shown in a corporate office and receiving recognition for her work.
Medicine and care institutions
- “Tum Pukar Lo,” Khamoshi (1969): Waheeda Rehman plays a nurse at a psychiatric hospital, but the song is set in the hospital without showing nursing duties. It is a borderline example: the workplace is visible, the work itself is not.
- “Mera Yaar Yila De,” Saathiya (2002): The song includes footage of Rani Mukerji at work in medical clinics while its story describes Vivek Oberoi’s search for her.
- “Hass Nach Le,” Udta Punjab (2016): Kareena Kapoor plays a doctor who runs a drug-rehabilitation clinic.
Sport: work represented by a journey
In “Badal Pe Paon Hai” from Chak De! India (2007), a background song accompanies the Indian women’s hockey team on its journey toward the world championship in Australia. Rather than depicting an office or a single job task, the sequence frames the players’ collective pursuit of a sporting achievement. The source highlights their underdog story and varied, often marginalized backgrounds.
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Journalism, broadcasting, and media
- “Pal Pal Har Pal,” Lage Raho Munna Bhai (2006): Vidya Balan plays a radio jockey; the song opens in her studio.
- “Dilli Dilli,” No One Killed Jessica (2011): Rani Mukerji plays a journalist whose work helps pursue justice for Jessica Lal, and the song shows her at work.
- “Rani’s Intro Theme,” Rocky Aur Rani Kii Prem Kahaani (2023): A Bangla rap introduces Alia Bhatt’s television-anchor and journalist character as she gets ready and goes to work in a newsroom.
Policing and politics
- “Salaam Kijiye,” Aandhi (1975): Suchitra Sen plays a politician, and the song shows public mockery during a campaign. The film was controversial during the Emergency era amid allegations that the character loosely resembled then-prime minister Indira Gandhi; that is the reported context for the controversy, not a claim that the character was a direct portrait.
- “Mardaani Anthem,” Mardaani (2014): Rani Mukerji’s police officer is shown performing stunts, chasing criminals, and rescuing women. The sequence makes the demands of her public-service role explicit through action.
Crime and espionage
These songs broaden the range of work on screen, though their characters operate outside conventional professions.
- “Sab Janta Ka Hai,” Parvarish (1977): Shabana Azmi and Neetu Singh play pickpockets who steal from the rich and give to the poor; the lyrics condemn private wealth.
- “Bunty Aur Babli Title Track,” Bunty Aur Babli (2005): Rani Mukerji plays an ambitious swindler.
- “Ae Watan,” Raazi (2018): Alia Bhatt plays a spy under the cover of a schoolteacher.
Teaching
- “Tumse Milke Dilka Jo Haal,” Main Hoon Na (2004): Sushmita Sen plays a schoolteacher in a heightened, dreamlike song sequence.
- “Madamji Go Easy,” Hichki (2018): Students play pranks on Rani Mukerji’s schoolteacher character, who has Tourette syndrome.
Domestic production can also be economic work
“Tera Mera Saath Rahe” from Saudagar (1973) shows Nutan’s character doing domestic work that turns date-palm juice into jaggery, a product sold to support the family. Her husband leaves her for a younger woman, then returns when jaggery sales and income fall; she refuses him. The sequence treats household production as economically consequential even though it is not professional employment and may not be recognized as such within the household or story.
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Work shown on screen—and work behind the song
A song can portray a woman’s occupation while leaving the labor of the song’s own performers out of view. In her 2020 academic article, “The disavowal of dance as labour in popular Hindi cinema,” Pritha Chakrabarti describes an “ideology of amateurism” that historically allowed the ideal Indian woman to dance publicly while denying that dance was labor. She argues that later Hindi cinema and promotional materials more openly acknowledge screendance labor and its process. As Chakrabarti puts it in the abstract: “This, I suggest, is symptomatic of the emergence of a new work order and the entry of a new class into this sphere.”
That is a related but distinct question from what these film songs depict. Nor should either be confused with songs sung while working. A Review of Agrarian Studies article on women’s work songs describes songs recorded during fieldwork in eastern Uttar Pradesh, including grinding songs and songs accompanying transplanting, weeding, harvesting, threshing, and winnowing. Those folk songs offer a different way to hear women’s labor and life contexts; they are not film-song examples.
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