Why does Bollywood make films against Pakistan?

 Why does Bollywood make films against Pakistan?

                                       

On a web channel, an anchor asked the question, why does Bollywood make films against Pakistan?

 He was referring to the recent Bollywood movie Dhurandhar, which was released a few days ago and has become a hit in India.

My spontaneous answer was that this is an important question, but even more important is why does Bollywood make such bad, poor and unrealistic films about Pakistan?

 Why are these people so ignorant and ignorant about Pakistan? They have no idea how people live in Pakistan, what clothes they wear, what their style of conversation is, what scripts are written in shops.

Countless examples can be given. By the way, in almost every Indian film, Pakistani Muslim characters are found with kohl in their eyes, a net cap on their head, and a boxed handkerchief draped over their shoulders.

Whether these characters are Punjabi, Pashtun or Baloch, they all address each other as Mian, and they behave in the Lucknowi style.

 K is called Kh, meaning Khan Sahib is Khan Sahib, Faisal is Faizal or Faizal etc.

 The basic information that can be corrected by paying a reasonable fee to any Pakistani writer, Bollywood filmmakers are not able to do that either.

 Nowadays, it is the era of Chat GPT, mistakes should be corrected with that, but no, Bollywood people have sworn to make bad and useless crappy films about Pakistan.

Bajrangi Bhaijaan is a famous Bollywood film, in which Salman Khan was the hero, Nawazuddin Siddiqui also worked.

 It was a big budget film, it did business well. But the film was full of the worst blunders. Such flaws and shortcomings that if they were discovered, the film director would be ridiculed in any other country that he would not be able to enter a film studio for the rest of his life.

Guess that the director could not even know what the weather was like in Narowal? He made it snow in Narowal, Shakargarh, where it had not been in the last hundred years.

People used to wear thick Kashmiri clothes like those worn in the severe cold weather of Srinagar. With one click, the weather of Narowal could be checked on Google to see how cold it gets in winter.

In the film, Salman Khan was admitted through a unique route, who was going to drop a Kashmiri girl off to her ancestral home.

 The director must have heard from someone that there is a city called Khanewal on the way from Sindh to Lahore. There are such princes who, instead of writing Khanewal, wrote ‘Khane Wal’ in the Hindi colloquial style.

 They should have been smart enough to know that in Pakistan, Kh is not pronounced Kh. There were many other mistakes, but rather blunders.

Munna Bhai shows a scooter in MBBS with a small ring attached to it, on which another rider can sit. There is a possibility that this strange and strange ride will never come to Pakistan.

The director of Bajrangi Bhaijaan made that unique rickshaw run on the roads of Pakistan

Now similar mistakes have been made in the latest film Dhorandhar.

 Interestingly, like Bajrangi Bhaijaan, the film Dhurandhar has also become a hit in India and has done more business than its budget, and is likely to earn more.

 Compared to other anti-Pakistan films, its script is a bit stronger and somewhat new. The underworld had never been presented in this way in Bollywood before, which is why this style was liked and taken off.

I think that the services of an overseas Pakistani ghostwriter were hired for Lyari, which is why the story of the Lyari gang war was found by the film producer.

 However, this writer was definitely not included in the film production, otherwise many mistakes would have been eliminated. That writer was probably also familiar with the Lyari gang war at the newspaper level, he had no idea of ​​the Lyari dialect.

Lyari has a special culture, dialect and diction. When you were making a film on Lyari, it would have been better to hire a Lyari-based person or writer, show him at least the script, and have him write a few dialogues in the specific Lyari dialect.

 If only one character spoke a few dialogues in the Lyari accent, it would have seemed somewhat authentic.

Rehman Dakit, who was later called Rehman Baloch and became Sardar Rehman Baloch when he thought of contesting elections, was linked to Baloch nationalism in the film and the impression was given that Rehman Dakit was popular among Baloch nationalists and separatist organizations.

This is completely baseless and wrong. Rehman Baloch was limited to Lyari only, there he did some work for the common people, distributed money etc., as such dacoits do, so there was some impression of support among the common people, but the Baloch intellectual class of Lyari strongly disliked him and considered him a dacoit and a criminal instead of a Baloch.

It is interesting that in the film, the Indian Intelligence cover agent who came to join the gang of Rehman Dakit, gave his name as Hamza Ali Mazari and he was a Balochi speaker and a resident of the operation-affected areas of Balochistan.

No writer with a little common sense and information would ever use the name Hamza Ali Mazari. Because the Mazari tribe is not in Lyari at all and it lives in D.G. Khan instead of Balochistan and the Mazari speak Seraiki in public instead of Balochi.

There are Baloch tribes like Mazari, Khosa, Leghari etc. in D.G. Khan, but they speak Seraiki instead of Balochi and are associated with the Seraiki nationality. For this reason, his accent has also become Seraiki, whether he is a Mazari or a Dareshk, a Khosa, a Leghari Sardar, his accent is clear from his lips.

Well, the Indian intelligence agent in the film, who was actor Ranveer Singh, had a Balochi accent, so what was it supposed to be, it was not even Seraiki. Similarly, the MNA of Lyari, Jamil Jamali, was in the film, the Jamali tribe does not exist in Lyari at all.

 If a little consultation had been done, at least the names of the Baloch tribes would have been given in a proper way, Baloch tribal names compatible with Lyari.

Akshay Khanna acted relatively well in the film, his appearance was also similar to some extent, but he did not look like a Baloch of Lyari at all. He also spoke as Mian and Janab.

 Rehman Baloch was a brutal and somewhat rough man. Akshay Khanna looked like a city-type don, he was not a don of Lyari.

 However, he performed better than others in the case of the blind man's voice, that's why he was liked.

 The song that was considered Balochi in the film is also not from Lyari nor is it a folk song of Balochistan,

 it is an Omani song that has no connection with Baloch nationalism nor is it related to Baloch religion.

 Sanjay Dutt played the role of SP Chaudhry Aslam. Sanjay Dutt's appearance was exactly the same, but he should have watched Aslam Khan's video clip, so that he could play Aslam in the same style.

 

The way the film tried to link the Lyari gang world with the ISI was also a lie. The underworld of Karachi is different, in which Shoaib Khan etc.

played an important role, its business was also something else, the Lyari gang war was a different story and a different world.

 It was not that whoever controls Lyari, controls Karachi. This impression was given in the film, which was completely wrong and unreal.

 The way the Baloch separatists were shown and their oppression was also childish. This gives an idea of ​​what the Indian intelligence agencies are thinking?

The question is then, why do Bollywood people make a new anti-Pakistan film after every few years? It is not that every such film is a hit. Many anti-Pakistan films have become super hits, but many have also been flops and dead flops.

 It seems that the financing   

of such failed films is also done from ‘somewhe

re else’ so that the loss can be compensated.

In Bollywood, this trend has increased in the last 10 to 11 years, especially after the BJP came to power.

 Two types of films have been made, one is directly or indirectly anti-Pakistan, the other is based on anti-Muslim tendencies, which also includes presenting the character of past Muslim rulers in a distorted state.

 For example, Alauddin Khilji was mocked in ‘Padmaavat’, Ahmad Shah Abdali was mocked in ‘Abdaali’. Sometimes Aurangzeb was targeted, there are many other such examples.

It is generally said in our country that anti-Pakistan films are made in India, this is partly true.

 Because in India, where the Bollywood film industry produces Hindi films and whose scope is more in North India, the South Indian film industry is also quite strong and its stars have now become famous all over India.

 

In South India, films are made in all four languages, Tamil, Telugu, Malayalam and Kannada, and in a way they have a separate industry, but they are called the South Indian film industry, their mood is completely different from Bollywood.

 Mukram Niaz is a South Indian Facebook friend of ours. He lives in Hyderabad (Telangana), is a fiction writer and film review writer.

 He has done extensive research on this subject and reviewed the top five films of Bollywood and South India every year for the last 11 years.

That is, 55 Bollywood movies and 55 South Indian movies were analyzed. The results of this research are interesting.

 Many hit films have been made in Bollywood against Pakistan, but not a single anti-Pakistan film has been made in South India or a film with anti-Muslim tendencies has been made.

Top South Indian films include Pushpa, Pushpa 2, Baahubali, Baahubali 2, Kantara, RRR, KGF, KGF Chapter 2, Vakeel Sahib, Master etc.

 It is very interesting that South Indian society is more different from North Indian society, relatively more moderate, secular and democratic.

 In the words of Mukram Niaz, ‘Anti-Pakistan narrative is almost non-existent in South Indian cinema. Anti-Muslim tendencies are very limited and indirect in nature.

 More emphasis is given to local culture, land, family, social conflict and human relations. South Indian cinema has historically focused on the following themes:

 caste, class, language identity, state vs. centre, corruption, local oppression etc. For example, Tamil cinema (Dravidian politics)

 Malayalam cinema (class division, realism), Kannada cinema (land, identity), Telugu cinema (power, feudal system).

 For South Indian cinema, Pakistan is an external ‘other’, while South Indian cinema prefers internal social conflicts.’

 Our South Indian writer and film reviewer Mukram Niaz presented an interesting thesis that ‘Since the trauma of the Partition of India (1947) directly affected Punjab, Uttar Pradesh, Delhi, Sindh/Gujarat, Bengal. South India was geographically and socially distant.

 The inherited collective elements of Partition such as: partition violence, refugee migration, border trauma were not felt in South India, therefore South Indian filmgoers do not inherit the narrative impetus.’

 

This is the point that needs to be understood. The intelligentsia, film industry and political elite of North India have not yet risen above the poisonous prejudices of the post-partition era. The second is that the BJP has influence in North India, they also get seats from here, their pulse in the South has not yet been able to melt.

Therefore, Bollywood, which has basically become a North Indian industry, keeps making propaganda films while advancing the extremist agenda of the BJP. Some such films are successful, some flop, but despite this,

due to the pleasure of the government and perhaps some mysterious financing, these films continue to be made and a certain biased propaganda and conspiracy theories are present in them.

 Another thing is that Bollywood filmmakers have not yet learned how to do propaganda properly?

 They often make bad anti-Pakistan films with a superficial, light, unrealistic and artificial atmosphere.

The film fraternity is more bothered by bad films. Hollywood also does a lot of propaganda, sometimes against the Russians, and nowadays even against the Chinese, but they make films in a decent way.

 Even big Bollywood filmmakers are used to making disastrous mistakes. Perhaps they do not consider their people capable of criticizing or catching mistakes. Whatever the reason, it is sad and disappointing.