Dhurandhar Puts Bollywood on Public Trial
(By S.N. VERMA)
For years, Bollywood put everything else on trial—faith, society, tradition, even the nation.
With Dhurandhar, the roles have reversed.
Now Bollywood stands in the witness box.
And this time—
the public is asking the questions.
For decades, Bollywood operated as judge, jury, and storyteller.
It framed narratives. Filtered truths. Selected heroes.
No accountability. No cross-examination.
I submit that for decades, Bollywood, as an institution, stands guilty of narrative manipulation through pattern, not accident.
Exhibit A: The Caricaturing of Hindu Identity
Let us begin with the evidence.
In PK, there is a now-famous sequence where the protagonist, played by Aamir Khan, walks through temples exposing “wrong numbers”—a metaphor for fraudulent religious intermediaries. The camera lingers on saffron-clad figures, idol worship, and ritual practices, reducing a complex civilizational philosophy to a marketplace of superstition.
The question is not whether malpractice exists in religion—it does in every faith.
The question is: why is the critique so selectively visualized?
In Oh My God!, a Hindu godman’s commercial empire is dismantled in a courtroom climax. Yet, again, the critique is unidirectional—faith is interrogated only within one framework, never across.
Even lighter films are not innocent. In 2 States, the Tamil Brahmin household is portrayed through exaggerated rigidity—rituals become comic obstacles, not cultural practices. Repetition of such portrayals is not satire; it is conditioning.
Exhibit B: Humanization of the “Other” — Without Reciprocity
Now contrast this with how “the other” is treated.
In My Name Is Khan, the protagonist’s journey is one of dignity, victimhood, and moral clarity. The film goes to extraordinary lengths to humanize and contextualize identity in a post-9/11 world.
Similarly, Raazi presents a protagonist who marries into a Pakistani military family. There are entire dinner-table scenes where the so-called adversary is shown as warm, cultured, humane. The Indian mission is important—but the emotional weight is carefully balanced to ensure the enemy never appears as an enemy.
The Court of people must ask:
Why does empathy flow so generously in one direction, and so cautiously in another?
Exhibit C: Blurring the Line Between Victim and Aggressor
Now we move to perhaps the most serious charge—distortion in matters of national security.
In Haider, directed by Vishal Bhardwaj, there are scenes of enforced disappearances and state excesses in Kashmir. These are legitimate subjects. But the narrative framing places disproportionate moral scrutiny on the Indian state while relegating terrorism to the background. The result is not balance—it is tilt disguised as nuance.
In Fanaa, the character played by Aamir Khan is revealed to be a terrorist. Yet the film spends the majority of its runtime building him as a romantic hero. The audience is emotionally invested in him before his actions are judged. This is not storytelling—it is emotional manipulation of moral perception.
Exhibit D: Romanticizing the Adversary
Time and again, Bollywood has indulged in what can only be described as cross-border romantic idealism detached from geopolitical reality.
Films and songs have repeatedly portrayed Pakistan not as a strategic adversary but as an emotional extension of shared culture—often ignoring the lived reality of conflict, terrorism, and hostility.
Artistic liberty cannot become strategic amnesia.
Exhibit E: The Shadow Influence of underworld
No prosecution is complete without addressing motive and means.
Bollywood’s murky past with underworld financing—an open secret that was whispered for decades before being acknowledged in fragments. The era when certain producers and actors allegedly operated under the shadow of figures like Dawood Ibrahim is not just gossip—it is part of the industry’s institutional memory. When money comes with strings, storytelling inevitably follows suit.
Bollywood’s long-suspected nexus with the underworld is not fiction. The name of Dawood Ibrahim has surfaced repeatedly in investigative accounts, linking financing channels to coercive influence over casting and production.
When capital is compromised, content cannot remain neutral.
Exhibit F: The Disruption of the Narrative Monopoly
And now, the turning point.
When Uri: The Surgical Strike released, it did something Bollywood had avoided—it presented a clear, unapologetic national perspective. The enemy was not humanized into moral ambiguity; the Indian response was not diluted into hesitation.
Then came The Kashmir Files, which forced into public discourse a chapter long confined to footnotes. Whether one agrees with its treatment or not is secondary—the fact is, it broke a silence that mainstream cinema had maintained for decades.
These films did not distort reality. They disrupted who gets to define it.
The issue is not that Bollywood told certain stories.
The issue is that it chose not to tell others—and systematically marginalized those who tried. The elimination of Gulshan Kumar is case in point. World knows, who eliminated Gulshan Kumar and why he was eliminated?
This is not a call for censorship.
This is a call for intellectual honesty.
The Disruption Bollywood Never Anticipated
The above said selective bias had continued until Dhurandhar happened.
Dhurandhar is not just a story.
It is a challenge to narrative monopoly.
No moral hedging.
No apologetic tone.
No ideological balancing act to appease critics.
Just a blunt proposition:
There is a national interest—and it will not be diluted for comfort.
Exhibit A: Characters That Refuse to Apologize
Take Hamza.
For years, Bollywood conditioned audiences to expect internal conflict—
the “good man trapped in bad circumstances,” the “victim of larger forces.”
But Hamza doesn’t play that game.
He is strategic. Calculated. Clear.
His loyalties are not confused.
His actions are not softened for audience sympathy.
This is not the conflicted anti-hero of Fanaa.
This is a man who understands the stakes—and acts accordingly.
Exhibit B: Rehman—Not Romanticized, Not Sanitized
Then comes Rehman.
In traditional Bollywood grammar, a character like him would be humanized first—given backstory, emotional cushioning, moral ambiguity.
Not here.
Rehman is what the plot demands him to be—a threat shaped by ideology and intent, not by convenient victimhood.
There is no forced dinner-table warmth like in Raazi.
No emotional cushioning.
Just consequence.
Exhibit C: The Refusal to Blur Moral Lines
This is where Dhurandhar hits hardest.
For years, films like Haider blurred lines—
state vs suspect, victim vs aggressor.
Nuance became a shield for imbalance.
Dhurandhar rejects that template.
Its scenes—interrogations, covert operations, strategic deception—
are built on one principle:
Clarity over confusion.
You are not asked to second-guess the nation’s position.
You are asked to understand it.
Exhibit D: Breaking Shadow influence of underworld as in past
The shadow influence of underworld figures like Dawood ibrahim on content, creation, casting and production of Bollywood movies had continued until Dhurandhar happened. Unlike portraying underworld figures like Haji Mastan, Abu Salem, Dawood ibrahim etc. as victim of circumstances, treating their character with empathy and eulogizing their characters in Bollywood films earlier, Dhurandhar exposes their characters and portrays them as they were/are: as devils, villains and not as heroes like earlier.
Exhibit E: Narrative Without Apology
In older Bollywood, even patriotism came with disclaimers.
In PK, faith was questioned relentlessly.
In Oh My God!, belief was put on trial.
But when it came to national narratives—
the tone softened, hesitated, negotiated.
Dhurandhar does none of that.
It does not seek validation.
It does not fear criticism.
It simply tells the story as it sees it—
without ideological permission slips.
The Public Reaction: The Real Verdict
And here lies the turning point.
The success and mass acclaim of Dhurandhar is not accidental.
It is corrective.
It signals that audiences are no longer satisfied with:
-Selective satire
-Curated empathy
-Manufactured moral confusion
They want clarity, authenticity, and courage.
And they rewarded it.
Bollywood, For the First Time, on the Defensive
For decades, dissenting narratives were dismissed as fringe.
Now they are mainstream.
For decades, audiences were passive.
Now they are interrogators.
Dhurandhar didn’t just entertain.
It cross-examined Bollywood itself.
And Bollywood had no ready defence.
Final Submission
The defence may argue: “This is artistic freedom.”
I submit: freedom without balance becomes bias; bias repeated becomes narrative control.
The issue is not that Bollywood told certain stories.
The issue is that it chose not to tell others—and systematically marginalized those who tried.
This is not a call for censorship.
This is a call for intellectual honesty.
Judgment Reserved—But the Audience Has Already Decided
The most significant development is this:
The audience is no longer persuaded by selective storytelling.
The era of passive consumption is over. The viewer now questions, compares, and challenges. The monopoly over narratives is collapsing—not because of censorship, but because of exposure.
Bollywood today stands at a crossroads:
Reform, introspect, and diversify its storytelling—or continue defending an eroding credibility.
Because in the ultimate court—the court of public trust—
selective truth is indistinguishable from falsehood.








