The importance of jewelry can not be underestimated in the world of Hindi cinema (which is a marker of honor for one thing).
Vidya Balan and Sonam Kapoor have created undulations when they put big rings on their nose, walking on the red carpet of Cannes. But Aamir Khan’s bright little nose pin, which is part of his look at the 2018 Hindustan Bully movie, caused waves of praise. Since the rings on the nose are traditionally worn by women, it is not surprising that Khan ornament keeps attracting curious speculation whenever it makes a public appearance. Obviously, when it comes to players who make jewelry, what is sauce for the goose is not good for one.
Hindi movies have used the type of subtext associated with jewelry to a different effect. The characters often ask men to “choodi pehen” (wear a bracelet) when they are unable to prove their masculinity. Rings on the nose often do not appear on the list of balls that are used to pejoratively signify femininity, but Sher-E-Hindustan (1998), with Mithun Chakraborty to its excess, offering a questionable example. The authority and masculinity of Kranti Kumar inspector is challenged when a local criminal interrupts public breasts and suddenly his ring in his nostril. Kranti carries the ring to deflect the insult and avenge by forcing the same ring on the nose through the criminal’s nose.
Even if the world is fascinated by the idea that men can wear jewelry to challenge traditional gender norms, Hindi cinema offers a magnificent example of this rebellion for decades. Consider Dilip Kumar telling the world to stop and see his approach after giving the slides of the song Mein Mere Pairon Ghungroo of Sunghursh (1968). Goliyon Raasleela Ki Ram Leela (2013) also shows that men with earrings and necklaces thin enough to strike envy in the hearts of women. However, male characters often stop wearing rings on the nose.
On the other hand, women in Hindi films focused on the diffusion and removal of rings in the nose with joyful abandon. They also have melodies in their shiny balls, using a series of risky metaphors that could cause a timed expiration to redden. Although Hindiennes films songs have found ingenious ways to solder sexual metaphors in almost all jewels (thinks Jhumka Gira Re de Mera Saaya, 1966), the ring of the nose was particularly genre.
In Nathaniya Hale Toh Johar Mehmood in Hong Kong (1971), a woman who drips with diamonds says that her nose ring will be a source of great joy when she moves. In Nathani Meri Dole Re Madhosh (1974), a woman dancing imagining someone who has her nose ring in motion will bring her much happiness with the lines “Nathani dole re meri koi Toh bada maza thaame Aaye”.
Most of these songs employ euphemisms that are ridiculously over the nose and the dance moves that accompany them leave little room for doubt. Women who sing around nose rings often make their sexuality a man, and the mention of their ornament is supposed to provoke and seduce.
Consider Bindiya Chamkegi’s Do Raaste (1969), where Mumtaz trying to amuse a discontented Rajesh Khanna with her insensitive sexuality – she does not care if the gleam in the beak nose intimidates men.