Dabba Cartel: Another Example Of Colorism In Cinema & The Stereotyping Of Dark-Skinned Actors

Skin color has long been used as a subtle yet powerful narrative device in movies. From casting choices to the roles assigned to actors, the preference for fair skin as a sign of superiority, power, and beauty is a recurring theme in films across various languages.

In this context, the Dabba Cartel, directed by Hitesh Bhatia, stands as another example of how the film industry perpetuates these age-old colorist stereotypes, especially when it comes to the portrayal of dusky-skinned characters in subservient or “lower-class” roles.

This is glaringly apparent in the casting of Nimisha Sajayan as Mala, a housemaid and a hustler in the show. This raises questions about how such casting choices reflect societal perceptions of skin tone, caste, and class.

Dabba Cartel is a complex, gripping drama about wives, mothers, and women living in a male-dominated, oppressive world.

At the center of it is the story of Sheila, a retired criminal, and the lives of the women around her, notably Raji (Shalini Pandey), Mala (Nimisha Sajayan), and Shahida (Anjali Anand).

The stakes are high, with drug deals, blackmail, and marital struggles shaping the narrative. However, the character of Mala, portrayed by Nimisha Sajayan, stands out for the emotional depth and rawness she brings to her role.

Nimisha’s performance is nothing short of captivating. Having impressed audiences previously in Poacher and The Great Indian Kitchen, she once again proves her range in a character that could have easily been pigeonholed into a stereotypical “lower-class maid” trope.

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But Mala feels real, complex, and grounded. Her struggles as a lower-class maid hustling through a high-profile society are neither forced nor exaggerated; they feel like an organic part of the world she inhabits.

However, the casting of Nimisha as Mala brings attention to a troubling trend that continues to be prevalent in Indian cinema: the association of dark skin with lower-class, subservient roles and the use of fair skin for those in positions of power or dominance.

While this is not a critique of Nimisha’s talent, she shines in her role, there is an undeniable connection between her portrayal as a servant and the larger issue of colorism in the media.

The issue of skin tone in Indian Cinema is not new. Over the years, fair-skinned actors have overwhelmingly been cast in superior, dominant roles, while darker-skinned characters are often relegated to lower-class, subservient positions.

This is not only a reflection of colorist attitudes in society but also a product of the industry’s deeply ingrained biases.

In Dabba Cartel, we see Mala, who is dusky-skinned, working as a maid and being involved in shady business dealings.

Meanwhile, other women in the show, like Jyotika’s character and Shalini Pandey, are often portrayed in a more sophisticated, superior light.

When we also look at characters like the police officer played by Sai Tamhankar, or the more refined and authoritative roles taken on by actors, the casting decisions become particularly evident. These characters are predominantly fair-skinned and are presented in positions of power or moral superiority.

This reflects the broader trend where dark-skinned characters are often typecast into lower-caste, servant, or criminal roles. It’s a form of visual shorthand used by filmmakers, but it also reinforces harmful stereotypes that equate darker skin with inferiority.

In many films across languages, fair skin is associated with power, success, and moral superiority, while dark skin is often linked to poverty, criminality, or servitude.

Consider the example of Gangubai Kathiawadi, where Alia Bhatt, playing the titular character, is portrayed as a fair-skinned, powerful figure, a brothel owner and an iconic character of the underworld.

However, the sex workers surrounding her are darker-skinned, which creates a stark visual contrast and reinforces the idea that fair skin equals dominance and control.

In Malayalam cinema, the film Adrishya Jalakangal uses the same technique, casting Tovino Thomas in a role where he is portrayed as a lower-caste character by painting his skin darker.

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Similarly, in Tamil films, the portrayal of characters like the lead in Asuran (Manju Warrier) often involves darkening the skin of characters to signify their caste or socio-economic status, while fair-skinned actors are given the roles of the “upper” class or those in positions of power.

These colorist narratives are pervasive across the film industries of India. They can often be found in the most unexpected places, reinforcing the hierarchy of caste, class, and skin tone.

This narrative pattern subtly influences how audiences perceive social structures and, more importantly, how individuals with different skin tones view themselves.

We hope to see more narratives where skin tone does not dictate the nature of the character. It’s not about merely casting dark-skinned individuals in “positive” roles but about creating characters that feel authentic and fully realised, irrespective of their appearance.

It is high time that filmmakers and audiences alike began to question this age-old tradition of casting based on skin color.

While performances like Nimisha Sajayan’s in Dabba Cartel deserve applause, we must ask whether these roles reinforce the very stereotypes they seek to challenge. The industry should move beyond casting decisions rooted in outdated notions of race, color, and class.