A big problem for India’s liberals
Dhurandhar is a milestone in filmmaking because we now have a film in which ideology is not only expressed through blunt nationalism, but also embedded within a technically assured and cinematically sophisticated work.
A heady cocktail of testosterone-heavy visuals, charming characters and a catchy soundtrack, Aditya Dhar’s Dhurandhar is a quintessential Bollywood spy thriller at first glance. But stalwart It doesn’t just entertain, but exposes the truth: the truth of how the Pakistani state is bent on waging jihad against India. But the troubling question is why are left-liberals so disappointed with this 3.5 hour long masterpiece? The reality is that for the first time in contemporary Indian cinema, the right wing has decisively won the narrative war. stalwart It is a milestone in filmmaking because we now have a film in which ideology is not simply expressed through blunt nationalism, but is embedded within a technically assured and cinematically sophisticated work. So, are India’s mainstream film critics struggling to accept that the cinematic message is no longer their forte?
Why did Aditya Dhar succeed where others failed?
Aditya Dhar understands one fundamental thing that his peers don’t – crude execution often dilutes the message of the film. Dhar displays an excellent command of his subject, Karachi’s Lyari underworld and its terror-financing gangs. Filmmakers like Vivek Agnihotri faltered not in intention but in execution. like agnihotri movies kashmir files are also politically incorrect, and they suffocate under the weight of their message. Characters turn into mouthpieces, scenes seem designed to provoke rather than persuade, and nuance is sacrificed for moral absolutism. Also, like expansive movies Warrior And Mission Majnu Relied on slogans rather than subtext and showmanship rather than storytelling. This approach energized the base but failed to convince skeptics or gain respect from general moviegoers. stalwart Breaks decisively with the fatigue of that formula.
Dhurandhar softened his tone for no one
Aditya Dhar has refused to adhere to any politically convenient correctness stalwart Makes a clear distinction between the attacker and the victim. Cinema is an art that always reflects the ideologies of its time and place. stalwart This reflects the sentiment of the majority of Indians who now believe that New Delhi should be more assertive in countering the threat of Pakistan-sponsored terrorism. The jury is out on whether the Manmohan Singh-led UPA government remained idle rather than combating Pakistani terrorism.
Dhurandhar’s sophistry is scary for liberals
For decades, Bollywood films have glorified cross-border brotherhood and promoted stories of eternal forgiveness that come at a heavy price for India’s security. In Fanaa, a literal terrorist is arguably humanized. Farah Khan’s ‘Main Hoon Na’ presents a false equivalence between India and Pakistan. Rakeysh Omprakash Mehra’s Rang De Basanti Katha takes the game to another level – the Bajrang Dal worker, who is considered a rude person and violent ‘resistance’ against the government, has been romanticized. Even Hollywood films like American Sniper and Oppenheimer have tried to whitewash America’s flawed foreign policy and hegemonic military interests. All of the above releases were celebrated as cinematic masterpieces. So, why should it? stalwart Should it be singled out for its political or ideological perspective?
stalwart Reclaims the space assigned to selective liberal discourse with cinematic precision. Aditya Dhar has ensured that the nationalism of his film emerges naturally from Ranveer Singh’s character and its realistic portrayal of events like the 26/11 attacks. Dhar treats his audience not as ideological participants, but as intelligent participants. This gives his film a refreshing credibility factor and makes it entertaining despite its long running time. Perhaps this is what is troubling liberal critics, whose cultural authority seems to be slipping. The fact that they can’t be sarcastic stalwart On its merits. Aditya Dhar ushers in an era of confident storytelling that is thought-provoking, inspiring and disturbing. After all, isn’t that the point of cinema?
