INDIAN FILMS ARE REFLECTIVE OF NOT ONLY THE SOCIETY BUT A STRATEGY IN NARRATIVE BUILDING
INDIAN FILMS AND NARRATIVE BUILDING
The Late 1960s and Indira Gandhi
In 1966, Lal Bahadur Shashtri was found dead in his room while visiting communist Russia (USSR). Morarji Desai enjoyed massive public support, but the Congress syndicate did not want him as PM. The ruling regime started vigorously collaborating with Islamists and Communists to remain in power.
The then Prime Minister, Indira Gandhi (who was not even 50 years old then), felt intimidated by her own senior Congress politicians. She embarked on a pro-left path just to stay in power. Her newly found ‘socialism’ made her take steps that were considered pretty controversial.
The state seized control of private businesses and nationalized the banking sector. It was pure rhetoric to brainwash the commoner and make them believe that these steps were pro-poor. It was 1967, and her Congress party won the general elections.
India was reeling from the aftermath of wars against Pakistan and China. The rift between Indira Gandhi and Morarji Desai was open. There were 523 seats in the Lok Sabha, and Congress lost a massive 78 seats compared to the previous election.
Other senior politicians understood that she was going down her father Jawaharlal Nehru’s path and was consolidating power. They felt left out and voiced their opinions, but Gandhi would have none of it. By 1969, voices of dissent within the party reached a crescendo.
The Presidential elections were just around the corner, and the Congress party announced Neelam Sanjeeva Reddy as their official candidate. Meanwhile, Gandhi pushed for V.V. Giri, and her support bore fruit when Giri won. For her dissent, Gandhi got expelled from the Congress party.
A Left Turn
Gandhi floated a new party and named it Congress (R), and many Congress stalwarts who sensed trouble joined her. Though most leaders joined her party, the split meant that Gandhi had 221 seats, 41 short of a majority. Thus the year 1969 saw India’s first minority government.
Gandhi wanted to retain power at any cost and asked the communists for help. Meanwhile, the leftists were happy since Gandhi had taken a left turn, and they joined hands with her. The communists (mainly from Kerala and West Bengal) had 42 seats, and the pro-left Dravida Munnetra Kazhagam from Tamilnadu, which had 26, entered the alliance.
Snap elections in 1971 fortified Congress Communist unity when Gandhi’s Indian National Congress (R) won 352 seats and the leftists 71. The communists wanted their share of the pie and cornered the department of education. Thus began an era of an openly Islamized education version and a revamp of textbooks that catered to the Moghul conquests over India.
Plain Islamists who claimed to be leftists joined them and got plum positions. Nothing else explains the introduction of Saiyid Nurul Hasan as our central education minister in 1971. Interestingly, four of India’s first five education ministers were Muslims after independence. These political appointments resulted in dramatic changes where our history and especially our movies grew pro-Islamic.
Bollywood movies with a hidden agenda
Indian movies carry a hidden agenda in a narrative building. Films are a medium that influences the mindset of the viewers. Movies can be inspirational and motivational, but one can use them for perception management.
The general public resented the emergency declaration, but the communists never left Indira. At the same time, they extended tactical support to Vidya Charan Shukla, and he was appointed India’s Information and Broadcasting (I&B) minister. Shukla became Indira’s propagandist and was in charge of stifling freedom of speech.
Back in those days, Akashvani and Doordarshan enjoyed a monopoly on airwaves. Movies until then were released in their unspoiled form and were reflective of society as a whole. Nationalist movies like Mother India, Mera Gaon Mera Desh, Upkaar, and Manthan were in vogue. Shukla’s appointment ensured that all that was about to change.
Shukla and his cronies made sure that they watched every movie thoroughly before they were released. Bollywood movies that never contradicted the leftist agenda began to appear. It was also the period when the underworld got entrenched in Bollywood.
Amitabh Bachchan, Salim Khan and Javed Akhtar
India saw the rise of a failed movie star Amitabh Bachchan. Inspired by the communist phrase Inquilaab Zindabad, Bachchan’s parents wanted to name him Inquilaab, but they refrained.
By the early 1970s, Bachchan had a string of flops. Salim Khan and Javed Akhtar discovered Bachchan and thus began an era of violence and crime in Indian movies. Movies became agenda-driven and continue till this day.
Movies became entertainment-laden and were made to hurt a section of society. Spiritual gurus and gods began to be portrayed negatively. Islamist underworld Dons were praised as heroes. The depiction of characters showed a lot of bias towards Indian Hindus. It became apparent that the funding of movies was happening from enemy countries.
Bachchan appeared as an atheist in Zanjeer, while the Muslim villain in the movie was of impeccable character. In Deewar, Bachchan is a Hindu who kept arguing with Hindu gods but always kept a 786 in his pocket. In Amar Akbar Anthony, the Hindu father is a smuggler and a murderer, but the Muslim family that cares for the children is kind-hearted.
Movies like Salaam Namaste promoted threesome relationships and cocktails. Realistic movies were scripted that openly promoted homosexuality and lesbianism.
Others like Aamir Khan starrer pk were blatantly pro-Pakistan beginning with its name. .pk is the officially designated Internet country code of Pakistan. His movies tried to establish that Pakistanis are soft-spoken and friendly.
Such movies were made even though the world knew that Pakistan was a terrorist hub that trained and funded global terrorism. Scenes in the movies were picturized to drive home the point that the Hindu religion and Indian culture were third-rate. The idea was to compel the commoner to move away from the beliefs of their ancestors.
In Dangal, there isn’t a single picture of Bhagwan Hanuman in any of the Akhadas. As if to add insult to injury, a slaughterhouse owner distributes prasad.
Hindu aesthetics were depicted as cheats. Dil Se openly showed the Indian army as rapists, while Rang De Basanti displayed the Indian defense minister earning kickbacks from coffins meant for dead soldiers.
Even biopics were not spared. Hollywood made a movie about a woman Air Force pilot, but it showed Air Force officials molesting her. Karva Chauth, which is enshrined in Hindu culture, was openly mocked
Movies appeared where Bhagwan Krishna is called a Tapori (vagabond). Important festivals, too, were ridiculed. The ten-day-long Ramnavami festival was shown as nine days of fasting and devotion and one of chicken (meat). Holi was nothing but a waste of water. The crackers on Diwali were an illogical way of celebration.
Raja Ramdev from the Pandav Dynasty originally built the Martand Temple in Anantnag around 3007 BCE. Dedicated to Surya Bhagwan (Sun God), subsequent kings renovated and added to the temple’s beauty. During the 8th century, Maharaja Lalitaditya gave it a total makeover, and it was world-renowned until it was destroyed.
Martand temple was part of the Naga Kingdom, also called the Karakot Empire. The sheer architecture of the temple is spellbinding. Martand means Surya (Sun) in Sanskrit.
The Temple was an architectural marvel mercilessly destroyed by Islamic invader Sikander Butshikan. It is believed that Butshikan and his barbarians took some time and effort to destroy the Temple. Kashmiri Islamists now openly call one of the oldest Temple ruins Shaitan Ki Gufa (Devil’s lair).
Movies like Haider depicted the Martand Temple in Anantnag as Shaitan Ki Gufa. There was a reason behind the negative portrayal.
In the early 1990s, Kashmiri Pandits faced a genocide at the hands of the Islamists. They began to return in the late 2000s. In 2009, Kashmiri Pandits somehow managed to perform a Hawan (ritual) after thousands of centuries at the Martand Temple.
Muslims do not want the Hindus to return to Kashmir and have repeatedly resorted to violence. Kashmiri Hindus returning did not go down well with radical Islamists, and Haider was released in 2014. The movie was scripted by a notorious anti-India propagandist and Pakistani-American named Basharat Peer.
Not only did the Indian Information & Broadcasting ministry allow such an anti-Hindu movie as Haider to be released, but it also assisted the movie’s makers. The ruins of the Martand come under the purview of the Archeological Survey of India (ASI), an Indian government agency. The song called Bismil, featuring lyrics like Shaitan Ki Gufa, was entirely shot inside the Martand Temple of Kashmir with special permission from the Information & Broadcasting ministry. Men in Mughal costumes stomped to evil music wearing boots inside the ancient temple.
Haider was nothing but a conspiracy to humiliate the Hindu temple in Kashmir. The movie depicted separatist forces positively, insulted our security forces and shunned the plight of Kashmiri victims who had faced an exodus not long back.
Propaganda Against Ramlila
Ramlila is an enactment of Bhagwan Rama’s life as per Ramayana. Dramatic plays and dance programs are part of Navaratri celebrations. Ramlila is considered a powerful medium to transmit the message of ethics, justice, and morality to show the importance of good social conduct (Dharma) to the masses.
In 2008, UNESCO declared the Ramlila festivities an Intangible Cultural Heritage of Humanity. The Abrahamic-Marxist war against Ramlila began immediately.
The movie Goliyon Ki Raasleela Ram-Leela was released in 2013 and depicted nothing but violence, sex, and vulgarity. People who came to watch the movie expecting that it was associated with Bhagwan Rama were offended and hurt their sentiments. The Indian government did not care.
Movies like Pushpa glorify a sandalwood smuggler with nothing but a brazen contempt for the laws of the land. The protagonist shows all the wrong traits and attitudes to harm the psyche of our youngsters. Catchy tunes, songs, and lyrics attract the young generation to watch such anti-social movies. When translated, Urdu words like Ashrafi are used instead of plain Hindi words.
Tradition is a sacred part of any flourishing culture. The first thing the enemy targets to break apart a civilization is to pull apart such traditions. Things have not been any different in India.
There is a plan behind this brainwashing. The hidden agenda behind these movies is to strip the psychological security and armor of Indians that are essential to protect themselves. Poisonous and toxic mixing of culture, language distortion, mindset change, and narrative are all part of the plan.
The viewer is encouraged to believe that anything and everything is acceptable in our society. The fact remains that a real danger exists from our enemies and is also active.
Indian films have long glamorized anything that is anti-India and anti-Hindu culture. Our enemies have roped in atheist Marxists cunningly to destroy our traditions and customs. Selective mockery of Hindu Gods is extensive, totally disregarding majority sensitivities.
It is so widespread now that harming the country’s image has become fashionable—such propaganda under the garb of creative freedom and freedom of expression. What is happening is nothing but an invisible war on India.
What is the Real Purpose behind such Negative Portrayals?
Films extend any country’s reach, either locally or internationally. India now has the power and the leverage to penetrate any international market. We can create our zone of influence using our soft power.
Indian movies are renowned worldwide. Our enemies feel that they must prevent India from exercising our influence. They know very well that once India reaches the stage of global impact, then there is no turning back.
Young minds are unsuspecting and sensitive. If we catch them young, they can be corrupted and their minds damaged in multiple ways. Bollywood moviemakers are trying to mock the Indian lifestyle and are ready to offer an alternative glamorized version. Their actions genuinely plan to weaken our society by using faultlines.
When a civilization’s local wisdom is questioned continuously, its brand stealthily stolen, and its traditions mocked, then it is to stop the spread of their cultural influence. Funds are being raised to debate patriotism with an ulterior motive to weaken our country.
Terrorists and outsiders are praised for instilling a false sense of security. To damage the psyche of the Hindus, they are being mocked in their own country. The idea is to make them feel inferior.
Languages like Hindi and Sanskrit that carried purity are now mixed with foreign ones and degraded beyond recognition. It is a ploy to make Indians feel polluted and remind them of slavery. Westernization is glorified to show contempt for the indigenous culture, which evolved from thousands of years of cultural history.
Some information is hidden or shown in the wrong light. Movies are laced with contradictions that fail to gel with our principles, sensibilities, and sensitivities. This narrative has the potential to harm the viewer’s psyche. They might seem innocent, but they remove our heritage and culture.
What is the Narrative that Indian Movies Portray?
Words and deeds are inserted that are harmful and poisonous. The extremism that harms our country and our society is popularized. Icons are being picked up to convey what is incorrect. They will affect the viewers, especially the young ones.
Indian society has deep wedges along so-called caste lines. These faultlines within our Hindu community are utilized, and the narrative is that Indians are deeply divided and weak. Caste and creed are present among Muslims and Christians but never appear in Indian movies.
Since outsiders have ruled us for many centuries, the narrative is that we are made to be ruled and are not capable of self-governance. The fact that our foreign rulers came for our wealth is conveniently hidden.
As per our movies, terrorists, smugglers, and anti-nationals are heroes. Rape is depicted as part and parcel of Indian society. Women are portrayed as commodities and wearing skimpy clothes, notwithstanding the context, which is now considered normal. That it does not gel with our festivities and rituals is deliberately undermined.
Insulting Hindu Gods is considered fashionable. Leaving one’s parents in nursing homes or orphanages is deemed to be innovative. Movies have ensured that showing Pandits and Hindi in poor light is acceptable.
Speaking unadulterated Hindi makes the speaker unfashionable and backward, while Urdu speakers are trendy. The chic ones use Hinglish, a crossover between Urdu and English. Insulting one’s language is deemed to be stylish.
There are a couple of strategic narratives that are at play here. One is being run by people living in India who still consider Pakistan as their country and foreign nationals who are out to destroy India. They humiliate whatever is regarded as Indian. They openly communicate that whatever is Indian is wrong and should be mocked, humiliated, and looked down upon. They use our caste faultlines whenever an opportunity arises and drive a wedge to weaken our society.
What does Research have to say about the Bollywood industry?
There is plenty of evidence that the movie industry is out to harm our identity. A study by the Indian Institute of Management (IIM) found many such examples. Brahmins are cunning politicians, Vaishyas are corrupt business people, and Sikhs are fools. Women, especially Christian ones, had ‘loose characters.’
However, even though most Muslim characters were criminals, they were portrayed as honest and intensely religious. Meanwhile, Pakistanis are shown as courteous, courageous, open-minded, and welcoming. Indians, as per Indian movies, are conservative, narrow-minded, and unwelcoming, and Hindu rituals/ festivals are useless.
The second strategic narrative is geopolitical. The Western world does not want Indians and the new India to realize its true potential. They fear that it will dent its market.
Frankly, they do not want to give credit to India for the ideas, concepts, and other goods they have stolen from India. They know that Indian personalities are world-beaters, but they want to destroy the aspirations of the youth of our country.
Our enemy countries want to create a market by trampling upon values like family bonding. They hold a stranglehold on our economy. New Micro, Small, and Medium Enterprises all over India are making a socio-economic safe zone. They challenge the existing market players.
One can find a small example in the Indian market for chocolates. Using malicious interpretations, the westerners have replaced their sweet chocolates using the tagline Kuch Toh Meetha Ho Jaaye.
India is changing fast. The country is asserting itself positively and rapidly in the field of technology. Nationalist movies like Baahubali created huge ripples across the movie spectrum and are a massive box office success. Kashmir Files is another example of our nationalistic thinking that has upset enemies both within our country and outside.
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