The Bollywood landscape has evolved into a battleground where political narratives clash
and intertwine, often reflecting the currents of the nation's socio-political climate. One of
the most conspicuous trends in recent years has been the emergence of films aligning
themselves with Prime Minister Narendra Modi's hyper-nationalistic Hindutva agenda. The
BJP and the Sangh family has a chokehold on the influential and the populist. These movies,
strategically timed for release before national elections, serve as potent tools to mould
public opinion and sway voter sentiment.
At the heart of this phenomenon lies a slew of films that not only glorify PM Modi, BJP, their
ideology and his government's policies but also take aim at critics and opponents alike.
From lionizing figures like Vinayak Damodar Savarkar to perpetuating Islamophobic
conspiracies, these productions leave little doubt about their partisan agenda. The audacity
with which they target revered figures and institutions, such as Mahatma Gandhi and
Jawaharlal Nehru University (JNU), underscores their determination to reshape historical
representations and foster an environment conducive to the BJP's agenda. Savarkar, a
controversial anti-colonial Hindu nationalist, advocated rape against Muslim women and
other minorities as a form of retribution for historical wrongs.
Two of the upcoming films, Accident or Conspiracy: Godhra, and The Sabarmati Report,
claim to “reveal” the “real story” behind the Godhra train burning of 2002 where 59 Hindu
pilgrims died in a fire that was the spark for anti-Muslim riots orchestrated by Hindu right-
wing groups that claimed over 1,000 lives, mostly Muslims. The riots happened when
Narendra Modi was the state’s chief minister.
Another film, Aakhir Palaayan Kab Tak? Which roughly translated means until when must
we flee, shows a Hindu exodus purportedly due to Muslims. Then there’s Razakar, a
multilingual release on what it calls the “silent genocide” of Hindus in Hyderabad by
Razakars, a paramilitary volunteer force that inflicted mass violence before and after India’s
independence in 1947. The film has been produced by a BJP karyakarta, Guru Narayana
Reddy.
In late February, the PM himself praised Article 370 (2024), a newly released film that lauds
his government’s contentious decision to strip Indian-administered Jammu and Kashmir of
its special status and statehood while placing hundreds under house arrests and imposing
lockdowns in the region. Film reviewers have called the movie a “puff piece” and a “thinly
veiled propaganda film” in favour of the BJP government while treating its critics and
opposition leaders with “derision”.
While a film like Monkey Man (2024), directed by Dev Patel, stands in limbo due to its
"overt" socio-political narrative, with distributors, multi-screen theatres, and OTT platforms
apprehensive of potential backlash. Conversely, The Kerala Story (2023) enjoys a Pan-Indian
release, indicative of the varying reception these films receive within the industry and
society.
The rise of such politically charged cinema is not a recent phenomenon but has gained
momentum since PM Modi assumed power in 2014. This trend is fuelled by a blend of fear,
opportunism, and unspoken support from the establishment. Filmmakers find themselves
navigating a treacherous and risky landscape where self-censorship becomes the norm to
avoid suffering the wrath of powerful political forces.
Some films aimed to discredit critics of the ruling party, such as The Accidental Prime
Minister (2019), a scathing portrayal of Modi's predecessor, Dr Manmohan Singh. Others
stirred up nationalist fervour, exemplified by Uri: The Surgical Strike (2019), which
dramatized the military operations conducted by Indian forces in Pakistan-controlled
Kashmir following a terrorist attack on an Indian military camp in Uri in 2016. Notably, both
films hit the screens in the same week, strategically timed just days before the elections.
Both films, became massive hits.
While this trend isn't entirely new, it has gained traction since 2014, coinciding with PM
Modi's rise to power. This shift is evident in the altered approach of the Indian film industry
towards historical narratives. If one looks at Jodhaa Akbar (2008), as a secular albeit
romanticised look into the life of the Mughal ruler in recent years, there has been a
noticeable change in the portrayal of Muslim rulers most popular depiction was Ranveer
Singh in Padmaavat (2018).
Such cinematic representations echo the objectives of the Hindu right-wing ecosystem,
which openly advocates for the erasure of Mughal history from public consciousness. This
concerted effort aligns with broader attempts to reshape India's historical narrative in line
with Hindutva ideology, ultimately influencing public perceptions and shaping
societal discourse.
The symbiotic relationship between Bollywood and the ruling party ensures preferential
treatment for films aligning with the establishment's narrative. Tax waivers, government
endorsements, and free screenings are just some of the perks bestowed upon such
productions, amplifying their reach and entrenching their influence in the public sphere.
Notably, BJP-ruled states have even gone so far as to grant half-days or paid leave for
citizens to watch films like The Kashmir Files (2022) under the guise of fostering "national
and social awareness."
While some argue that politically charged cinema will remain niche, others warn of a
troubling trend toward mainstream propaganda. Blockbuster productions, featuring A-list
actors, increasingly serve as vehicles for political messaging, blurring the lines between
entertainment and indoctrination. This confluence of not just Hindi cinema but mainstream
cinema of all languages will spell a new wave of in-your-face propagandist films that have
been normalised to as a tool for nation building but a way to keep political machinery
churning with their optics getting stronger and more powerful. These films will act as a
mirror where the nation reflects hollow strength, purity and development, any challenges to
that evergreen reflection will be snuffed out. These politics underscores the imperative for
active scrutiny and critical engagement with the narratives propagated by popular culture
and populists.
As the scale and scope of such films continue to expand, concerns about their impact on
democracy and freedom of expression loom large. In an era where cinema wields
unprecedented influence, the stakes for democratic discourse have never been higher. The
film industry stands at a crossroads, with its choices shaping not just box office revenues but
the very fabric of Indian society and governance.
