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Padmaavat Reinforces Negative Stereotypes of Muslim Rule in India
Famed Bollywood producer Sajay Leela Bhansali's Padmaavat is a fictionalized portrayal of a Rajput queen Padmavati, played by Deepika Pudokone, whose earliest mention is found in a 16th century epic poem by a Muslim poet Malik Muhammad Jayasi. With the movie Padmaavat's (Padmavati's) musical score and the song and dance sequences and the opulence and the splendor of the costumes, the jewelry and the sets, it's safe to say that the fans of Bhansali's earlier Bollywood blockbusters like Bajirao Mastani and Devdas will not be disappointed. It looks particularly spectacular when watched in 3D-IMAX version-- something my wife and I experienced in a local Silicon Valley multiplex.
Released amidst death threats by right wing Hindu groups, one would have expected that the movie in some way challenges the revisionist history being promoted by the ruling BJP's ideologues.
Surprisingly, the movie Padmaavat reinforces the current Hindutva narrative about the Muslim rulers of India. It portrays Muslim ruler Alauddin Khilji of the Delhi Sulatanate, played by Ranveer Singh, as a violent and lustful man lacking any scruples, fitting in with the current wave of Islamophobia in India. On the other hand, his Hindu Rajput counterpart Maharawal Ratan Singh, played by Shahid Kapoor, is shown as an honorable and principled person.
The story appears to glorify the act of mass suicide by Rajput Hindu women by self-immolation in the name of honor....an idea that the Karni Sena opposing it picked up by threatening mass self-immolation by 1700 women in protest if the film is released. It begs the question: Why should only women commit this mass suicide in protest? Why not the men of the Karni Sena?
Meanwhile, it remains a mystery as to how a fictional Hindu queen first mentioned in a poem by a 16th century Muslim poet has become the symbol of honor for Rajputs in the 21st century. For this, one must understand the larger underlying trend in Indian polity today with the rise of Hindutva under right-wing Hindu Prime Minister Narendra Modi's leadership.
American historian Audrey Truschke, in her recently published book "Aurangzeb: The Life and Legacy of India's Most Controversial King", attributes today's Hindutva revisionist history to the colonial-era British historians. She says they deliberately distorted the history of Indian Muslim rule to vilify Muslim rulers as part of the British policy to divide and conquer India. These misrepresentations of Muslim rule made during the British Raj appear to have been accepted as fact not just by Islamophobic Hindu Nationalists but also by at least some of the secular Hindus in India and Muslim intellectuals in present day Pakistan, says the author. Aurangzeb was neither a saint nor a villain; he was a man of his time who should be judged by the norms of his times and compared with his contemporaries, the author adds.
Alauddin Khilji, portrayed in Padmaavat as a villain, was in fact neither an angel nor a devil; he was a man of his time who should be judged by the norms of his times and compared with his contemporaries. Colonial-era British historians deliberately distorted the history of Indian Muslim rule to vilify Muslim rulers as part of their policy to divide and conquer India, according to American history professor Audrey Truschke. Professor Truschke has systematically dismantled all the myths about India's Muslim rulers as hateful and bigoted tyrants who engaged in rape and pillage of Hindus and carried out widespread destruction of Hindu temples across India. Hindu Nationalists led by Indian Prime Minister Narendra Modi are using false history to justify their hatred and violence against Indian Muslims today.
Related Links:
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Hindu Supremacist Yogi Adiyanath's Rise in UP
Globalization of Hindu Nationalism
Riaz Haq
India’s Hindu nationalist leader is shaping Bollywood to his own, divisive ends
By Imaan Irfan
https://www.prospectmagazine.co.uk/culture/72598/the-narendra-modi-...
Even more troubling—says Shakuntala Banaji, a professor of media, culture and social change at the London School of Economics who specialises in studying authoritarian uses of media—has been the “swing into very vicious forms of propaganda”. Take The Kerala Story (2022), which billed itself as a true account of 32,000 girls from Kerala who were groomed into joining Isis—and was premised on the idea of “love jihad”, a far-right conspiracy theory that is used to target interfaith couples in India. When journalists criticised the film for exaggerating the number of radicalised women, the figure on posters was reduced to just three. Still, the BJP leveraged the film in its campaign for the Karnataka assembly election, and it won the National Film Award (selected by a panel appointed by the government).
Or The Kashmir Files, released in the same year, which portrayed the exodus of Hindu Pandits from Kashmir and Muslim militant groups in the 1990s. This featured gratuitous (and fictionalised) episodes of violence—including a scene in which a widow is forced to eat rice soaked in her husband’s blood. Videos circulated on social media of moviegoers shouting, “Shoot the traitors!” BJP leaders organised special screenings and Modi personally met its creators.
Both films were endorsed by the prime minister and granted tax-free status in several exclusively BJP-ruled states.
In the moral universe of these films, argues Banaji, “the core theme is that violence and extreme violence are completely acceptable norms for individuals and groups who happen to be Hindu to use against [Muslims]… there’s always an excuse built in, in terms of the historical imagining of those films, about why one might need to use [violence] against insidious, vicious and usually completely inhuman or subhuman Muslim groups and characters.”
“If [filmmakers] push against an exclusionary idea of India’s Hindu nation,” she says, “you begin to see that you either have to be producing within the indie sector, or you are gradually pushed out, or you are the target of a lot of hate.”
The most striking example of this is the case of India’s Muslim actors. The “Khans of Bollywood”—Shah Rukh Khan, Aamir Khan and Salman Khan (no relation to each other)—are among the most wealthy and recognisable celebrities in the world, but they also occupy a precarious position.
Two years after Modi’s election, when Aamir Khan mentioned a “growing sense of disquiet” in the country and confessed that his Hindu wife had broached the prospect of having to move abroad, the subsequent backlash saw him being dropped from contracts, including as the face of the government’s “Incredible India” tourism campaign.
A few days later, the “king of Bollywood”, Shah Rukh Khan—worth £1.3bn and sometimes described as the biggest actor in the world—came under fire for suggesting India had become more religiously hostile (“I think we should be a little more tolerant”). BJP leaders compared his language to that of terrorists, and he was forced to retract. Separately, his son was detained without bail for a month by narcotics police, despite a lack of evidence. “If they could do this to the king,” observedSamanth Subramanian in the New Yorker, “imagine what they could do to us”.
Actors and filmmakers tread a fine line between self-preservation and complicity
Actors, like everyone else, have had to adapt to this new India. But they tread a fine line between self-preservation and complicity. Shah Rukh Khan visited a senior BJP figure to ensure the smooth release of Raees (2017), assuring him that his Pakistani costar, Mahira Khan, would not be promoting the film in India. Around the same time, Aamir Khan attended his first award ceremony in 16 years, to be honoured by Mohan Bhagwat, the head of the Hindu supremacist paramilitary group Rashtriya Swayamsevak Sangh (RSS).
on Saturday
Riaz Haq
India’s Hindu nationalist leader is shaping Bollywood to his own, divisive ends
By Imaan Irfan
https://www.prospectmagazine.co.uk/culture/72598/the-narendra-modi-...
It is impossible to understand Modi’s India without understanding the RSS, which was founded in 1925 as an echo of European fascist parties and now has some 6m active members. The group’s disciples have included Gandhi’s assassin and many BJP politicians—up to Modi himself. Its primary aim is to establish a Hindu Rashtra, a theocratic or semi-theocratic state, with minority faiths inevitably relegated to second-class status, or worse.
On 7th and 8th February this year, the group held centenary celebrations in Mumbai and rolled out the saffron carpet for Bollywood’s brightest stars. And it wasn’t just the usual suspects, Modi’s vocal allies in the film industry, who attended. Directors, actors and composers who had never attended an RSS event were present, too. Ten years ago, this would have been unthinkable.
Even Salman Khan made an appearance, permitting himself to smile at a line in Bhagwat’s speech acknowledging Khan’s influence: “What Salman Khan wears, college students do the same… Why do they do it? Because he is wearing it. Why is he wearing it? They don’t know.”
In those words was a clue to why all the actors were invited in the first place. After all, the country’s far-right leaders don’t just see themselves as the custodians of Indian culture—but also its shapers. And by merging the blind devotion of nationalist politics with the blind devotion of Bollywood fandom, what can stop them?
on Saturday
Riaz Haq
Excerpts of The Economist Magazine's review of Indian propaganda film "Dhurandhar":
Is Bollywood’s latest megahit propaganda for Narendra Modi?
https://www.economist.com/asia/2026/03/29/is-bollywoods-latest-mega...
"Is Bollywood's latest megahit propaganda for Narendra Modi? “Dhurandhar: The Revenge” portrays India extracting a price for Pakistani perfidy".
"A country that cannot pull off an assassination in Canada—Canada!—without getting rumbled is in “Dhurandhar” capable of retribution that makes Mossad look like LARPing teenagers."
“Some of the biggest cheers for “The Revenge” at the showing Banyan attended erupted not when patriotic dialogue is delivered, nor when Pakistanis are finished off in increasingly imaginative ways, nor even when the sneering terrorist has his brains blown out. The loudest cheers came when the screen lit up with news footage of Mr Modi, the bravest Hindu of all. But to dismiss “Dhurandhar” as propaganda is to miss something important. It did not become a monster hit by trying to convince viewers of an alternate reality. Its genius is to reflect the world many Indians, browbeaten by years of shrill pro-Modi messaging on TV news and social media, already believe to be real.”
yesterday