Bollywood'sDhurandharBecomes a Subject of Ridicule for Distorting Karachi's Lyari

The newly released trailer for the Bollywood filmDhurandharhas ignited a firestorm of criticism, notably from Indian social media users. The movie controversially depicts Karachi's Lyari district as a volatile war zone. At its core, the narrative followsRanveer Singhas a RAW agent on a mission to infiltrate what is characterized as 'hostile' Pakistani territory.Arjun Rampal'scharacter,Major Iqbal, is portrayed as a Pakistani intelligence officer consumed by a desire to 'make India bleed.'

A central point of contention revolves around the film's characterization of Lyari as the "heart of terrorism in Pakistan."R. MadhavanembodiesAjay Sanyal, a figure seemingly inspired by India's National Security Adviser,Ajit Doval, who advocates for infiltrating Lyari as a counter-terrorism strategy. Adding fuel to the controversy, the production incorporates distinctive Pakistani political imagery, such as a rally of the Pakistan Peoples Party (PPP), alongside visuals ofBenazir Bhuttoand the party's distinctive flags.

Commentators, particularly within Pakistan, have vehemently condemned the film for fostering an anti-Pakistan agenda and for fundamentally misrepresenting Lyari's complex historical reality. While Lyari has indeed been infamous for its history of gang wars,Dhurandharportrays it exclusively as a breeding ground for terrorism, entirely sidelining the intricate ethnic and political conflicts that truly defined the region. The depiction of prominent real-life figures instrumental in these gang wars – includingRehman Dakait,Arshad Pappu,Chaudhry Aslam, andUzair Baloch– has been met with derision, with many asserting that their significant roles in Karachi's past should not be exploited or twisted by Indian cinema.

Slated for a December release, the film has quickly become a contentious subject. This is not solely due to its implausible and sensationalized depiction of Pakistan, but also because it seemingly panders to India's burgeoning nationalist sentiment, which frequently involves twisting Pakistan's domestic issues for theatrical impact. Critics contend that Bollywood, having seemingly depleted its own historical narratives, now turns to co-opting Pakistan's challenges, transforming them into fabricated, overstated tales designed to assert India's perceived dominance in its neighbor's internal matters.

This controversy underscores a larger issue of cultural appropriation, prompting questions about Bollywood's assumed right to narrate Pakistan's history, especially when such portrayals misrepresent the authentic experiences and suffering of its populace. AsDhurandhar'srelease approaches, it has already emerged as an emblem of Bollywood's persistent inclination towards sensationalism and factual distortion for both dramatic and political ends.