Javed Akhtar Defends Controversial Films, Praises Dhurandhar’s Work

In a spirited defense of creative freedom, renowned lyricist and screenwriter Javed Akhtar has challenged the growing tendency to dismiss films as propaganda, arguing that all storytelling inherently carries perspective and intent.

Speaking to reporters in Kolkata, where he received a special award from a jewelry brand, Akhtar expressed concern over how the term “propaganda” is increasingly used as a dismissive label in cultural discourse.

“Every story takes some stand,” Akhtar remarked, questioning whether narratives are branded as propaganda simply because they fail to align with certain viewers’ perspectives. He emphasized that filmmakers are ultimately attempting to present what they perceive as truth through their cinematic work.

The 79-year-old industry veteran cited his appreciation for “Dhurandhar,” noting his preference for the first installment over its sequel. For Akhtar, the issue extends beyond the content itself to how audiences respond to differing viewpoints presented on screen.

Delving into the relationship between storytelling and ideology, Akhtar observed that even fantasy-based films carry ideological undertones. “Films are like mirrors,” he explained, suggesting that cinema inevitably reflects the values and concerns of its time. As society evolves, so do conceptions of morality and aspiration, which in turn influence the stories told through film.

This perspective comes at a time when Indian cinema, particularly Bollywood, faces increasing scrutiny over political messaging. Several recent blockbusters have sparked debates about nationalism, historical interpretation, and social values, with critics on different sides of the political spectrum applying the “propaganda” label liberally.

Akhtar’s comments appear to advocate for a more nuanced understanding of filmmaking as an art form that naturally engages with social and political realities, rather than reducing works to simplistic political categories.

When pressed about a warrant issued against Bengali poet Srijato Bandyopadhyay regarding a poem written years ago, Akhtar declined to comment, citing insufficient information about the case. The incident reflects broader concerns about artistic freedom in the current climate.

The screenwriter, who has been vocal about his atheist beliefs, described atheism as a rational and prejudice-free way of thinking. He also referenced the cancellation of a previous invitation from the West Bengal Urdu Academy, attributing it to intolerance among certain groups—a comment that hints at the challenges faced by public intellectuals who express controversial views.

Reflecting on India’s political landscape, including the Bharatiya Janata Party’s rise to power at the Centre in 2014, Akhtar acknowledged that change is inevitable in societies. He tempered this observation by noting that not all change is necessarily positive, yet expressed optimism about younger generations, whom he believes will shape a better society.

Akhtar’s career spans over five decades, during which he has witnessed significant shifts in Indian cinema and society. His collaborations with Salim Khan in the 1970s and 80s produced some of Bollywood’s most iconic films, many of which engaged with social issues of their time.

Looking toward the future, the veteran writer expressed his desire to create a mainstream film that resonates with diverse audiences across class boundaries, suggesting that his creative journey continues to evolve alongside India’s changing cultural landscape.

As the film industry navigates an increasingly polarized environment, Akhtar’s defense of creative intent serves as a reminder of cinema’s complex relationship with social reality—one that transcends reductive labels and embraces the multifaceted nature of storytelling.