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Mishra Defends “Dhurandhar The Revenge” Amid Propaganda Accusations
As Ranveer Singh’s blockbuster “Dhurandhar The Revenge” continues its remarkable box office run, veteran actor Piyush Mishra has stepped forward to defend the film against growing criticism that labels it as “propaganda.”
Speaking at the Delhi International Film Festival on March 28, Mishra dismissed these accusations, praising the Aditya Dhar-directed film as “pure cinema” with “an amazing screenplay.”
“There’s a thin line between propaganda and cinema,” Mishra explained in Hindi. “For example, Dhurandhar. I loved that film. That’s actually what we call cinema. So I liked Dhurandhar very much. You can’t say that it was a propaganda film. It’s just a film.”
The spy thriller has become a cultural phenomenon in India, dominating not only the box office but also social media conversations and industry discussions. Despite overwhelmingly positive audience reception, the film’s political undertones have sparked debate among critics and commentators.
Political analyst Dhruv Rathee has been particularly vocal in his criticism, describing the sequel as “brain rot” and claiming that, unlike its predecessor, it “is not even well-made propaganda” anymore. This criticism has contributed to wider discussions about whether the Dhurandhar franchise crosses the line between patriotic storytelling and political messaging.
Mishra is not the only industry veteran defending the film. Earlier, actor Anupam Kher also addressed the controversy in a video posted on Instagram, expressing strong disapproval of those labeling the film as propaganda.
“People who are saying it’s about jingoism and that it is a propaganda film… I feel so sad for them. I feel pity for them,” Kher stated. He drew parallels to similar criticisms faced by “The Kashmir Files,” adding, “People who call it a propaganda film should be ashamed of themselves… If you can’t tolerate such a movie, go and make such a film… Put some money and hire some writers.”
The “Dhurandhar” franchise follows the story of Indian spy Hamza Ali Mazari (also known as Jaskirat Singh Rangi), portrayed by Ranveer Singh. The first film established the character as an operative who infiltrates criminal gangs in Pakistan’s Lyari area to dismantle terror networks threatening India.
The sequel, which released on March 19, expands the narrative by exploring the protagonist’s origin story while continuing his mission against terror networks. The film features an ensemble cast including Arjun Rampal, R Madhavan, Sanjay Dutt, Sara Arjun, and Rakesh Bedi in pivotal roles.
The commercial performance of “Dhurandhar The Revenge” has been nothing short of phenomenal. As of the latest reports, the film has amassed ₹778.77 crore in India alone, with worldwide collections exceeding ₹1100 crore. These impressive figures underscore the film’s massive appeal despite—or perhaps partly because of—the surrounding controversy.
The debate around “Dhurandhar The Revenge” highlights the increasingly blurred boundaries between entertainment, patriotism, and political messaging in Indian cinema. As the film industry continues to produce content centered around national security and cross-border conflicts, such discussions are likely to remain relevant in the cultural landscape.
For now, as the box office numbers continue to climb, it appears that audience enthusiasm for the franchise remains undimmed, regardless of the ongoing critical discourse.
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10 Comments
I appreciate Piyush Mishra’s defense of ‘Dhurandhar’ as pure cinema. While the political themes are undeniable, labeling it as straight-up propaganda may be an overly reductive take. These are the kinds of discussions that can really deepen our understanding of the relationship between art and ideology.
Agreed, the line between cinema and propaganda is often blurred. It’s important to engage with these debates critically but also with an open mind, rather than jumping to conclusions. There’s value in parsing the complexities.
Interesting take from Piyush Mishra. While the political undertones in ‘Dhurandhar’ are hard to ignore, I respect his view that it’s primarily a work of cinema rather than pure propaganda. These debates around the line between art and agenda can get quite nuanced.
I agree, these conversations around the intersection of film, politics, and propaganda can get very complex. It’s good to hear different perspectives on where that line should be drawn.
I’m intrigued by Mishra’s perspective on ‘Dhurandhar.’ While the film’s political undertones are undeniable, his defense of it as pure cinema is thought-provoking. These debates around the line between art and propaganda are never simple, and it’s good to hear different views on the matter.
Agreed. These conversations are rarely black and white, and it’s valuable to consider nuanced perspectives, even if one ultimately disagrees. The fact that ‘Dhurandhar’ is sparking such a dialogue speaks to its cultural resonance, whether one sees it as art or agenda.
I’m curious to see how this debate around ‘Dhurandhar’ evolves. Dismissing a film as simple propaganda can be an oversimplification, but the political messaging also can’t be ignored. It’s a delicate balance that filmmakers and critics will likely continue to grapple with.
Absolutely, there’s a lot of nuance to consider. I look forward to seeing how the discourse unfolds and whether a more well-rounded understanding of the film’s intentions and impact emerges.
The success of ‘Dhurandhar’ certainly has people talking. While I can see Mishra’s point about it being primarily a work of cinema, the political messaging is hard to ignore. These are the kinds of films that prompt important discussions about the role of art in shaping public discourse.
Absolutely. Regardless of one’s stance, the fact that ‘Dhurandhar’ has sparked such a lively debate is a testament to its cultural impact. These are the kinds of conversations that can really push us to think more deeply about the intersection of entertainment and ideology.