Why Dhurandhar Hits Hard And Why It's Bothers Many

When the buzz around Dhurandhar was raging on social media, I hadn’t watched it, so it didn’t feel appropriate to write about it then. After watching it, I understood what exactly the audience is reacting to so strongly. That said, neither the ones praising it excessively nor those criticizing it harshly are entirely at fault.

On social media and in certain circles, the film Dhurandhar was labeled as “propaganda,” to which Ram Gopal Varma gave a strong response. In an interview, he said that the term “propaganda” is usually used by people who are unable to accept a particular viewpoint.

“If someone feels this film is propaganda, instead of sitting quietly, they should make their own film and respond. Cinema is a medium to express one’s opinion, and every director has the full right to present their perspective.”

Ram Gopal Varma also said that this film is like “horror” for Bollywood because it scares those filmmakers who believed that audiences come to watch films after “leaving their brains at home.” Dhurandhar 2 has ended the era of “flying heroes” who never got hurt. Ranveer Singh’s character (Jaskirat) gets injured and feels pain, which makes him more realistic.

That’s the filmmaker’s perspective but the common man thinks differently. He feels: for decades, Hindi films portrayed pandits as cunning hypocrites, traders as black marketeers, and a particular community as poor and noble no one objected then. But now, when something different is shown, why the outrage?

When Shah Rukh Khan makes Raees, which glorifies and justifies Abdul Latif (who played a key role in smuggling RDX in the Mumbai blasts and terrorized Gujarat, especially Ahmedabad), it’s acceptable? Or when films like Haseena Parkar glorify Dawood Ibrahim’s sister, whose propaganda is that? Why didn’t it feel problematic then?

Seeing this so-called “secular-neutral” group now complaining about Dhurandhar doesn’t provoke anger it actually feels amusing.

Some people even object to a character resembling Ajit Doval. But why should there be objections at all?

The Spy master : The man who worked in silence so a nation could stand strong ,
The unseen architect of India's intelligence legacy 

The real concern should be that no filmmaker ever thought of making a film on R. N. Kao, the real hero, the founder of India’s Research and Analysis Wing (RAW). Instead of showcasing the sacrifices of numerous successful spies, films have trivialized them. Ravindra Kaushik’s story was reduced to romance, diluting his sacrifice. Even “Tiger” was made overly cinematic, yet people lapped it up.

A story of mistaken identity , Tiger jinda hai  

There’s Sarabjit, Kulbhushan Jadhav (still suffering in a Pakistani prison), and Kashmir Singh from Punjab who endured torture in Pakistan and returned in 2008 to a grand welcome, only to fade into obscurity afterward. If filmmakers wanted, they could have made powerful films on such lives. Most spies disappear into anonymity and poverty. Kashmir Singh was no exception. Why were films not made on such subjects?

A silent soldier in hostile shadows.

These are just a few examples. Such people remain anonymous and can never come into the public eye. Only when they sacrifice their lives do we come to know about them.

The question is: if a film like Dhurandhar is propaganda, does it automatically become a hit? Then why did the Modi biopic fail?

Even understanding the stature of R. N. Kao is difficult through Google or bookshe was extremely private, rarely spoke, and avoided public interaction. Has any film been made on him?

Indira Gandhi played a key role in establishing RAW. It’s also well known how Morarji Desai damaged this strong institution. For those unaware: RAW spies had risked their lives to gather intelligence about Pakistan’s nuclear activities in Kahuta. What did Morarji Desai do? He reportedly called Islamabad and revealed the information, casually exposing the operation. The result? General Zia-ul-Haq launched a combing operation, and many Indian spies were killed.

Because of one person’s recklessness, brave young lives were lost. Why was no film made on this?

Similarly, the kidnapping of Mufti Mohammad Sayeed’s daughter in Kashmir, which led to the release of five JKLF terrorists, could have been a gripping subject. Why wasn’t a film made? There are even theories suggesting it was a planned pressure tactic. Why was that story ignored?

Why were such subjects never explored in cinema? The answer is simple self-interest. No one wanted to upset their big boss and vote banks.

But now, when such films are finally being made, what’s the point of protesting?

That said, one can understand the discomfort. When Manohar Parrikar became Defence Minister, he once remarked that two Indian Prime Ministers had played very poor roles. People initially assumed he was targeting a prominent political family, but later it became clear he was referring to Morarji Desai and I. K. Gujral.

Of course, some people will criticize such films that’s their opinion. But the truth is, the public has always been curious about stories that remain hidden even after appearing in newspapers.

Portraying Major Iqbal like Ilyas Kashmiri doesn’t necessarily mean they are the same person it’s a character inspired by many. Similarly, Jaskirat Rangi is a blend of multiple real-life figures. Jameel Jalali’s character is based on Pakistan’s former shipping minister Nabeel Gabol, though with cinematic liberties.

In novels and films whether historical fiction or thrillers creative liberty is always taken. Haven’t we seen Latif portrayed almost like a messiah in some narratives?

The film’s strongest aspect is that it keeps the audience glued to their seats for four hours.

People can believe what they want, but as a film, it is definitely worth watching as new-age cinema.

Perhaps, just like Hollywood once had the USA vs USSR spy era, India too may enter a phase of Indo-Pak spy thrillers. It’s a new genre and a welcome one whether based on fiction or inspired by history.

Ram Gopal Varma was right about one thing: filmmakers should watch Dhurandhar 2 multiple times before starting their next project, to understand how audience preferences have evolved.

And we’ve seen it many times that controversy often ends up boosting a film’s success.