Kumar Vishwas Defends Controversial Dhurandhar Franchise Against Propaganda Accusations

Noted poet and political commentator Kumar Vishwas has entered the heated debate surrounding Aditya Dhar’s “Dhurandhar” franchise, which has polarized audiences with some critics labeling it as propaganda. In a recent interview with Zingabad, Vishwas offered a spirited defense of the films while exploring broader questions about artistic intent and nationalistic storytelling in cinema.

Vishwas revealed that his viewing of “Dhurandhar” represented a rare cinematic outing for him. “Yes, after a very long time I watched a film. In fact, I watched a film in a theatre after almost 15 years,” he noted, underscoring the significance of his decision to see this particular release.

Addressing the propaganda allegations head-on, Vishwas drew parallels with acclaimed international cinema. “Look, Steven Spielberg made Schindler’s List. He is Jewish, and his family are survivors of Hitler’s atrocities. It took years to make and won several Oscars. Wasn’t that also propaganda in some sense?” he questioned, suggesting that personal experience inevitably influences creative work.

Vishwas emphasized that director Aditya Dhar’s background as a displaced Kashmiri naturally informs his filmmaking perspective. “Any filmmaker brings their own thought process. Aditya Dhar has his own perspective,” he stated, implying that accusations of propaganda might reflect double standards in how certain narratives are received by critics and audiences.

The commentator posed a provocative question about the target of the alleged propaganda: “Even if it is propaganda, the question is: against whom? If it is against Pakistan, then why should Indians object? When enemies of the country are shown being eliminated, would you clap or criticise?”

His comments touch on the sensitive geopolitical tensions between India and Pakistan that have often found expression in Indian cinema. The “Dhurandhar” franchise appears to tap into nationalistic sentiment through its portrayal of conflicts with India’s neighbors, continuing a trend of patriotic action thrillers that have found commercial success in recent years.

Vishwas further challenged critics by asking whether they would applaud or object to scenes depicting adversaries of India receiving just punishment. “If someone who attacked India is shown being punished, and is speaking to India’s National Security Advisor saying ‘Bharat Mata ki Jai,’ would you applaud or object?” he asked, referring to the Hindi phrase for “Victory to Mother India.”

The debate surrounding “Dhurandhar” reflects broader cultural tensions in India’s film industry, where discussions about propaganda, nationalism, and artistic freedom have intensified in recent years. Some filmmakers and critics have expressed concern about the increasing prevalence of overtly patriotic narratives that align with certain political viewpoints.

Vishwas advocated for viewing films as artistic expressions rather than political statements. “Films should be seen as films. Every creator tells a story from their own lens,” he said. “If I write about Lord Ram, my interpretation will differ from someone else’s. Similarly, a filmmaker presents their own version.”

He suggested that some of the criticism might stem from the film’s polished execution rather than its content. “Earlier, people called things propaganda because they were crude. Now it’s finely crafted, aesthetically made, and professionally executed—and that’s why it’s harder to dismiss,” Vishwas observed.

On a personal note, Vishwas expressed admiration for both the director and actress Yami Gautam. “I’ve praised Aditya Dhar. I even called him and told him he’s made a very good film. He’s like a younger brother to me,” he shared, adding that Gautam is “very talented.”

The “Dhurandhar” controversy highlights the ongoing tension between artistic expression and political messaging in Indian cinema, raising questions about where entertainment ends and propaganda begins—and whether that distinction matters when the storytelling resonates with audiences.