Javed Akhtar Defends “Dhurandhar” Filmmakers’ Ideological Freedom, Challenges “Propaganda” Classification

In a pointed statement on artistic freedom that has drawn considerable attention from the film community, renowned lyricist and screenwriter Javed Akhtar has defended the makers of “Dhurandhar” against critics who have labeled it a propaganda film, arguing that filmmakers have the right to express their ideological views through their work.

Speaking at a film industry event in Mumbai yesterday, Akhtar emphasized that creative expression should not be stifled by political considerations, even when the content reflects perspectives that some might find controversial. “Every filmmaker approaches their craft with a particular worldview. To dismiss a film as ‘propaganda’ simply because it expresses a certain ideology undermines the fundamental principle of creative freedom,” Akhtar said.

The film “Dhurandhar,” directed by newcomer Rajat Sharma and produced by Aditya Films, has sparked heated debate since its trailer release last month. The political thriller depicts events loosely based on recent governmental policies, with critics arguing that it presents a one-sided narrative that favors the current administration.

Akhtar, who has himself been outspoken on political issues throughout his five-decade career, made it clear that his defense of the film is not necessarily an endorsement of its content. “I haven’t seen the entire film yet, but my concern is with the principle at stake. We cannot selectively apply standards of scrutiny based on whether we personally agree with a film’s perspective,” he explained.

Industry analysts note that the controversy highlights the increasingly polarized environment in which Indian cinema operates. Film critic Rajeev Masand points out that “the line between political commentary and propaganda has become blurred in recent years, with audiences and critics often judging films through their own ideological lenses before evaluating them as artistic works.”

The Indian film industry has witnessed several similar controversies in recent years, with films like “The Kerala Story” and “The Kashmir Files” facing similar accusations of bias and historical revisionism. These films achieved significant commercial success despite—or perhaps because of—the controversies surrounding them.

Filmmaker Anurag Kashyap, known for his socially conscious cinema, offered a nuanced take on the debate. “While filmmakers have every right to express their views, audiences and critics equally have the right to question those narratives. The problem arises when such questioning is suppressed or when alternative viewpoints are not given the same platform,” Kashyap stated at a separate event.

The Central Board of Film Certification (CBFC) cleared “Dhurandhar” with a U/A certificate after suggesting minimal cuts, further fueling debate about the board’s approach to politically charged content. Former CBFC chairperson Sharmila Tagore, when reached for comment, noted that “certification bodies worldwide struggle with the distinction between political expression and propaganda, particularly when state interests are involved.”

The controversy comes at a time when streaming platforms have expanded the range of political narratives available to Indian audiences, creating what media scholar Dr. Anjali Monteiro of Tata Institute of Social Sciences describes as “a more complex ecosystem where multiple perspectives can coexist, though not always with equal visibility or support.”

Box office analysts predict that the controversy might actually benefit “Dhurandhar” commercially when it releases next month. Trade analyst Taran Adarsh suggests that “films that generate pre-release debates often convert curiosity into ticket sales, regardless of critical reception.”

As the debate continues, Akhtar’s intervention represents a significant voice in support of creative freedom, even as it raises important questions about responsibility in storytelling. His stance underscores the complex relationship between art, politics, and commerce in contemporary Indian cinema.

“The ultimate judge will be the audience,” Akhtar concluded. “In a democracy, people have the wisdom to discern different perspectives and make their own judgments about what constitutes propaganda versus legitimate artistic expression.”