Aditya Dhar’s film ‘Dhurandhar’ emerges as a significant exploration of India’s national identity, challenging the longstanding narrative of victimhood in Indian cinema while sparking debate over its portrayal of patriotism and agency.
New Delhi, India – In recent weeks, the release of ‘Dhurandhar,’ a two-part spy thriller directed by Aditya Dhar, has ignited discussions surrounding the representation of national identity in Indian cinema. The film, which tells the story of a fictional agent from India’s Research and Analysis Wing (RAW) infiltrating the criminal underworld of Karachi, has garnered over thirteen hundred crore rupees in box office sales and achieved a remarkable 96% approval rating on Rotten Tomatoes. The conversation surrounding the film reflects deeper issues about how India narrates its own stories of agency and heroism.
The Context of National Narrative
For much of its post-independence history, India has often refrained from creating its own national myths, in contrast to other countries like the United States and Britain, which have crafted extensive narratives that bolster national pride and identity. In the U.S., films have perpetuated the legend of the frontier, often glossing over the historical realities of colonization and violence. Similarly, British cinema has framed events like Dunkirk in a light that emphasizes resilience rather than catastrophe. In France, the narrative of universal Resistance during World War II conveniently omits the complexities of collaboration with Nazi forces. These constructed legends form the ‘psychic infrastructure’ that supports national confidence and identity.
In India, however, the prevailing cinematic narratives have predominantly focused on themes of suffering and victimhood, often appealing to Western audiences. As Gautam Adani recently remarked, Indian cinema has sometimes portrayed poverty through a lens that seeks external validation rather than fostering a sense of internal pride. This tendency raises concerns about national self-perception, suggesting that India has internalized a narrative that limits its storytelling to themes of adversity.
Dhurandhar’s Impact and Reception
‘Dhurandhar’ marks a shift from this narrative, presenting a story rooted in action and agency. The film references significant events in India-Pakistan history, including the hijacking of Indian Airlines Flight IC-814, the attack on the Indian Parliament, and the 2008 Mumbai attacks. Critics have labeled the film as ‘jingoistic’ and ‘propaganda masquerading as cinema.’ However, this critique invites a broader examination of how national narratives are framed in Indian cinema, raising questions about whether the term ‘propaganda’ is applied inconsistently across cultural contexts.
The film’s commercial success, with its second installment grossing over one hundred crore rupees on its opening day, suggests a robust audience appetite for narratives that emphasize national pride and agency. This response indicates a possible shift in audience expectations, favoring stories that celebrate resilience and action over those that dwell solely on hardship.
Cinematic Tradition and Critique
Critics of ‘Dhurandhar’ argue that it fails to meet the standards of kitchen-sink realism, a genre characterized by its unflinching portrayal of everyday life. However, this perspective overlooks the rich tapestry of Indian cinema that encompasses a wide range of genres and styles. While films such as ‘Masaan’ and ‘Court’ exemplify the tradition of realistic storytelling, ‘Dhurandhar’ operates within the established genre of masala films, which blend elements of drama, action, and humor.
In this context, it is essential to recognize that Indian cinema is not monolithic. The works of directors like Satyajit Ray, Ritwik Ghatak, and Adoor Gopalakrishnan stand alongside contemporary filmmakers like Chaitanya Tamhane and Neeraj Ghaywan, showcasing the diversity of storytelling approaches. The emergence of ‘Dhurandhar’ does not threaten this tradition; instead, it adds a new layer to the cinematic landscape, inviting audiences to engage with narratives that reflect both national challenges and triumphs.
The Broader Implications
As ‘Dhurandhar’ continues to resonate with audiences, it prompts a reevaluation of how India constructs its national identity through film. The film’s success may indicate a growing desire among viewers for stories that empower and inspire, rather than solely focusing on victimhood. This shift could have profound implications for the future of Indian cinema, potentially leading to a richer array of narratives that encompass both struggle and resilience.
Ultimately, the conversation surrounding ‘Dhurandhar’ is emblematic of a larger debate about the role of cinema in shaping national identity. As India grapples with its past and navigates its future, films like ‘Dhurandhar’ may play a pivotal role in redefining how the nation sees itself and its place in the world.
