The Controversy Surrounding "Dhurandhar": A Government-Embedded Film

"Dhurandhar," directed by Aditya Dhar, has emerged as a significant topic of discussion in India, blending elements of a spy thriller with a narrative that aligns closely with the ideological stance of the Indian government. The film follows an Indian spy, Jaskirat Singh Rangi (played by Ranveer Singh), who infiltrates a Pakistani gangster network to dismantle terrorism linked to Pakistan, particularly in the context of historical events like the hijacking of an Indian Airlines flight in 1999 and the 2001 attack on the Indian Parliament.

Middle East Eye

The film exemplifies what has been termed "government-embedded filmmaking," a concept that suggests a close alignment between cinematic narratives and governmental ideologies. Critics argue that "Dhurandhar" reproduces the current government's narratives, particularly those associated with Hindu nationalism, without overt ideological slogans. This subtlety is seen as a hallmark of effective propaganda, as it aligns with the broader political climate in India.

The Hindu

Responses to "Dhurandhar" have been polarized. Supporters view it as a necessary portrayal of the threats posed by Pakistan, asserting that it serves as a "cinematic correction" to previous Bollywood narratives that downplayed these issues. Conversely, critics, including actor Hrithik Roshan, have faced backlash for labeling the film as propaganda. Detractors argue that it perpetuates harmful stereotypes about Pakistan and Muslims, depicting the nation as a monolithic source of terrorism.

The Hindu

Critics have pointed out that "Dhurandhar" distorts historical realities, such as the portrayal of Lyari, a neighborhood in Karachi, as a chaotic underworld solely responsible for Pakistan's terrorism. The film's narrative suggests that the Pakistani military and intelligence services are directly controlled by gangsters, a simplification that overlooks the complexities of Pakistan's political landscape. Furthermore, the film's use of real audio footage from events like the 2008 Mumbai attacks raises ethical concerns about the blending of fact and fiction.

Middle East Eye

The film's success reflects a growing trend in Bollywood towards jingoistic narratives that resonate with nationalist sentiments. It has sparked discussions about the role of cinema in shaping public perceptions of national identity and foreign relations. The portrayal of Pakistan in "Dhurandhar" aligns with a broader narrative that seeks to justify aggressive policies against perceived threats, reinforcing a sense of victimhood among Indian audiences.

The Hindu

While supporters argue that "Dhurandhar" is a legitimate espionage drama, critics contend that it is a vehicle for deepening disinformation and dehumanizing Pakistanis. The film's narrative, which emphasizes a muscular approach to national security, contrasts sharply with previous calls for peace and dialogue between India and Pakistan.

The Hindu

• “To land a punch, one must first make a fist,” — Ajay Sanyal, character in "Dhurandhar."

Middle East Eye

• “This is the new India. We barge into your house, and we terminate you.” — Ranveer Singh, character in "Dhurandhar."

Middle East Eye

"Dhurandhar" stands as a reflection of contemporary Indian cinema's engagement with nationalistic themes, raising questions about the intersection of art, politics, and public sentiment in a rapidly changing socio-political landscape.

The Hindu