Luck is a recurring theme in Indian cinema, with films often showcasing its ability to change lives. While these films also provide valuable commentary on society, they reinforce a truism that few would contest: luck can utterly upend a life, in the same way that almost everyone shares the dream of hitting the jackpot.
The Allure of the Lottery
Now, strong metaphors about the lottery, such as hope and failure, are interspersed in Indian films. This motif weighs heavily on films’ narrative, as dreams of sudden wealth inspire characters to make leaps of faith or moral decisions that shape their journey through the landscape. Movies such as Baazi (1951) and Kala Bazar (1960) show how winning brings about its own highs and lows. These tales reflect the struggles of individuals facing sudden wealth and moral dilemmas while navigating the complexities of luck and interpersonal ties.
In Baazi, the protagonist, shows us how easy it is to transcend fortune into folly when gambling. The question, however, remains whether luck is a blessing or a curse, leading viewers to think about it. Likewise, Kala Bazar employs the lottery as a plot tool to examine social issues such as corruption and class struggle and how luck enters the mix and serves to deepen existing imbalances.
Personal Stories Behind Luck
More recent films pursue this inquiry but often shift the emphasis from the societal implications to the personal stories. Films like Lucky: No Time for Love (2005) and Kai Po Che! (2013) explore the emotional journeys when they are at crossroads of luck. They explore how winning — or losing — can transform identities and relationships. Here, luck isn’t merely an external force but fundamental to character development.
The expression “have the winning lottery ticket” embodies this notion better than anything else; winning doesn’t just bring economic resources but also a transformative potential. Characters who discover themselves holding a ticket like that must wrestle with desires, fears, and moral compasses as they define for themselves what it means to be lucky.
Comedy and Satire
Indian cinema uses humour to analyse luck. Comedies like Malamaal Weekly (2006) provide a light-hearted view of village life and how a lottery win upends fears, relationships, and life as we know it. Such tales are often lampoonish, finding laughs between the lines to take a shot at the absurdities of riches and ambition.
The Dark Side of Luck
Luck stories are not always cheery, though. Movies like Striker (2010) take a bleak view of how the windfall of fortune upends lives. These cautionary tales remind viewers that luck will abandon the best of us and wealth does not necessarily equal happiness or contentment.
The Indian cinema’s portrayal of luck as reflected in the stories of lottery and chance both turn out to be much more than just a dry moral lesson, with a touch of humor and drama. And as filmmakers continue to explore these themes, they can often do so effectively by imparting a certain level of entertainment while also challenging us to start asking ourselves about what it ultimately means to be lucky, to have “made it” in life.
