Animal director Sandeep Reddy Vanga dismisses ‘propaganda’ criticism as ‘negative outlook’

Animal director Sandeep Reddy Vanga has pushed back against critics who labeled his recent box-office hit “Dhurandhar” as propaganda, describing such accusations as “Kaala Drishti” or looking at his work through a negative lens.

In a wide-ranging interview with film industry publication Cinema Express, Vanga addressed the controversy that has surrounded his latest directorial venture since its release three weeks ago. The film, starring Ranbir Kapoor, has generated over Rs 850 crore in worldwide box office collections despite polarized critical reception.

“When people want to find fault in something, they will find it regardless of what you create,” Vanga said. “This tendency to immediately dismiss challenging narratives as propaganda reflects a deeper unwillingness to engage with complex storytelling.”

The filmmaker, who previously directed the controversial but commercially successful “Kabir Singh,” defended his creative choices by emphasizing that his films aim to explore morally ambiguous characters rather than promote specific ideologies. Industry analysts note that Vanga has established himself as one of Indian cinema’s most divisive yet commercially viable directors, with his films consistently generating significant box office returns despite critical debates.

Film trade analyst Taran Adarsh pointed out that “Dhurandhar” has already become one of 2023’s highest-grossing Indian films. “The audience response contradicts the propaganda narrative,” Adarsh explained. “Films that genuinely push political agendas typically don’t achieve this level of commercial success across diverse demographic groups.”

The propaganda accusations primarily stem from certain dialogues and character portrayals in the film that some critics argue reinforce problematic social attitudes. However, Vanga insists that his storytelling aims to reflect reality rather than idealize it.

“Cinema should be allowed to depict characters with flaws and contradictions,” Vanga remarked. “When we start policing art based on whether it aligns with certain political or social perspectives, we risk stifling creative expression.”

The controversy reflects a growing trend in Indian cinema where films increasingly face scrutiny for their perceived political leanings. In recent years, several high-profile releases have been labeled as either promoting nationalist narratives or challenging establishment views.

Media studies professor Dr. Rajani Mazumdar from Jawaharlal Nehru University contextualizes this phenomenon: “Indian cinema is experiencing a cultural moment where artistic works are instantly categorized along political lines. This binary approach often reduces nuanced storytelling to simplistic labels.”

Despite the controversy—or perhaps because of it—”Dhurandhar” continues to draw audiences across tier-one and tier-two cities. Theater owners report strong weekday collections, unusual for films entering their fourth week of release.

PVR Inox executive Gautam Dutta confirmed the film’s commercial strength: “Regardless of the critical discourse, audience reception has been overwhelmingly positive. The film has sustained momentum well beyond opening weekend, indicating strong word-of-mouth.”

The film’s production house, T-Series, has remained supportive of Vanga’s vision. Company spokesperson Neeraj Kalyan stated, “We stand by directors who push creative boundaries. The commercial success of ‘Dhurandhar’ speaks for itself.”

Looking ahead, industry observers suggest the “propaganda” debate might actually extend the film’s theatrical run by keeping it in public discourse. Entertainment journalist Anupama Chopra noted, “Controversial films often benefit from extended media cycles. The ongoing debate ensures ‘Dhurandhar’ remains relevant in cultural conversations.”

Vanga’s next project, already in pre-production, is reportedly another high-budget feature starring a leading Bollywood actor. Sources close to the director indicate he remains unfazed by the criticism and is focused on continuing to create cinema that challenges conventional storytelling approaches.

As the debate continues, “Dhurandhar” stands as another example of the increasingly complex relationship between commercial Indian cinema, critical reception, and political interpretation in a rapidly evolving media landscape.