Paresh Rawal’s ‘The Taj Story’ Sparks Interest in Similar Historical Narratives on Streaming Platforms

In the wake of controversy surrounding “The Taj Story,” propaganda films gain spotlight on streaming platforms

Paresh Rawal’s “The Taj Story” has made modest progress at the box office since its October 31 release, collecting Rs 2.70 crore in its first two days according to box office tracker Sacnilk. The film has sparked discussions for its controversial premise that questions traditional narratives about the construction of the Taj Mahal, one of the world’s seven wonders.

The film follows Vishnu Das, an elderly Agra-based tourist guide who files a petition challenging the historical account that Shah Jahan built the Taj Mahal. His character demands evidence for the monument’s origin story in school textbooks and calls for excavation beneath the marble structure to discover what may lie underneath.

“The Taj Story” is the latest in a string of Indian films categorized as propaganda by critics for their politically charged narratives that often challenge established historical accounts or address sensitive social issues through particular ideological lenses.

One such controversial release is “The Kerala Story,” which depicts a Hindu woman from Kerala allegedly converted to Islam and trafficked to Syria to join ISIS. Though presented as a fictionalized account based on real events, the film faced severe criticism for what many called Islamophobic content. The controversy reached such heights that the West Bengal government initially banned its screening, citing its potentially divisive nature.

“The Kashmir Files,” another prominent example, portrays the 1990s exodus of Kashmiri Pandits from the Kashmir Valley during insurgency. Critics argue the film presents a one-sided narrative by focusing almost exclusively on violence against Hindus, framing the historical events as a genocide while aligning with Hindu nationalist perspectives.

Political tensions also feature prominently in “The Sabarmati Report,” which dramatizes the 2002 Godhra train burning incident where fifty-nine passengers, mostly Hindu pilgrims, died. The film follows a journalist investigating the tragedy, but critics contend it selectively presents a narrative favorable to the current political establishment rather than offering a balanced account.

The Naxalite-Maoist insurgency in Chhattisgarh provides the backdrop for “Bastar,” which chronicles a female police officer’s battle against leftist militants attempting to establish a separate state within India. Student organizations like the Students Federation of India criticized the film for allegedly demonizing institutions like Jawaharlal Nehru University and presenting a skewed portrayal of the Naxalite movement.

Constitutional changes feature in “Article 370,” an action thriller dramatizing covert operations leading to the revocation of special autonomous status for Jammu and Kashmir in 2019. The film includes depictions of terrorist Burhan Wani’s killing and a dramatized version of the Pulwama Attack. Critics have described it as more celebratory of government action than factually accurate.

Historical mysteries are explored in “The Tashkent Files,” which investigates conspiracy theories surrounding the death of India’s second Prime Minister, Lal Bahadur Shastri, in 1966. Despite official reports attributing his death to a heart attack, the film explores alternative theories, though critics claim it lacks evidence and appears politically motivated.

The propagation of such films reflects a broader trend in Indian cinema where historical and political narratives are increasingly becoming battlegrounds for competing ideologies. These productions often generate substantial debate about the responsibility of filmmakers when presenting contentious historical events to mass audiences.

As “The Taj Story” joins this controversial genre, it reignites questions about the intersection of entertainment, historical representation, and political narrative in modern Indian filmmaking. While some viewers appreciate these films for bringing lesser-discussed perspectives to light, others worry about their potential to inflame social tensions by presenting complex issues through simplified, partisan frameworks.