In films, symbolism is frequently used by auteur filmmakers to subtly communicate complex concepts, inviting the audience to engage with the story on a deeper, more intellectual level. This practice not only enhances the aesthetics in films but also empowers the narrative. Objects, colours, events, characters or even camera angles can serve as symbols if they are intended to represent something. The key element of practising this technique is to provide meaning, depth, layering, context, and aesthetics, to name a few.

Here, we are going to discuss some symbolic uses of objects in films.

To begin with, Rakesh Omprakash Mehra’s 2006 cult classic Rang De Basanti, has numbers of tangible objects that often serve as anchors for broader themes. Mehra’s Rang De Basanti uses many objects excellently as symbols.  They not only become the perfect complementary tools of storytelling but also blend beautifully with the narrative, evoking emotions further.

 The Gun:

Once they seize the radio station at gunpoint, they throw the gun into the dustbin. They were forced to take guns in their hands out of helplessness; and as a revolt, otherwise, they know a gun’s right place is in a dustbin.

Their mission to spread the word to the masses is complete, and with that, the gun’s role in the story is over; there is an air of new beginnings, a new morning, a new sunrise. Mehra films the throwing away of the gun into the dustbin as a close-up shot, with a cheerful, hopeful beginning note of Roobaroo.

Ajay’s Jacket:

Mehra places Ajay’s jacket in the first half of the story as an object of desire for Karan. When Ajay leaves to resume his duties, the gifting of his leather jacket to Karan symbolises the shift of ideology and responsibility. It comes to a full circle when Karan repeats Ajay’s words, “Koi bhi desh perfect nahi hota. Use perfect banana padata hai!”

Canteen TV:

The TV set in the canteen acts as a mirror of the narrative, of character’s arch and the turn that the story is going to take. The TV set first appears when the group of DJ, Sukhi and Karan are watching fashion TV and rating the models showing their carefree days of college campus. Later when the TV shows the debate of parts of MIG plane and defence minister’s interviews , Karan immediately walks off calling it a depressing nonsense followed by his gang, showing disinterest in what is going around in the nation.

The news of Ajay (R. Madhavan’s) death in the plane crash is also broken by the same canteen TV set when the group is hanging around in the canteen.

Sonia’s Green Bangles

Interestingly, in the same scene, Sonia is happily buying and showing her green bangles, which are a symbol of marriage and prosperity, followed by news of Flt Lt. Ajay Rathore’s demise. Ajay had proposed here during his last holiday, and they were about to begin a new life when the TV brought the unfortunate news.

Related Article: 15 years of Rang De Basanti- A film that shook the soul of whole nation

Some other examples of remarkable use of objects in other films-

1. Aparajito: In Satyajit Ray’s Oscar-winning trilogy, “the fall of the water pot” on the Ganga Ghaat symbolizes the death of Harihar Roy.
2. Piku:  When Rana switches his shoes from casual to formal symbolizes the evolution of love.
3. Queen:  The red colour shoes Rani wears initially, changes its color later shows transformation of the character.

There are numerous practices of symbolism is evident in films; here, we have confined ourselves to objects only.