Recently, Indian audiences have been inundated with films that further political and ideological narratives. Films are no longer just a means of entertainment. Rather, they have become a powerful tool for moulding public opinion, strengthening cultural identity and promoting political agenda. The coming of the right-wing to power in India has marked a huge change in the way films are made and consumed.
Since 2014, there has been a surge in films that promote Hindu nationalism, glorify historical Hindu figures and marginalise minority communities. Films like Padmaavat (2018), Tanhaji: The Unsung Warrior (2020), and Samrat Prithviraj (2022) typically adhere to a “formula” in which Hindu kings are depicted as invincible heroes while Muslim rulers are shown as oppressive aggressors.
These films are not just period films but carry a carefully stated storyline that promotes the Hindutva objective of rewriting history to fit a Hindu-centric worldview. The film Chhaava is the latest addition to this genre. It is a historical drama celebrating the life of Chhatrapati Sambhaji Maharaj, the 17th-century Maratha warrior king.
Although the film is being presented as a tribute to Sambhaji Maharaj, critics say that the film is part of a larger trend of promoting the Hindutva ideology – a right-wing political movement that seeks to establish India as a Hindu nation.
Chhaava: A Case Study in Hindutva Propaganda
Chhaava celebrates the life and legacy of Chhatrapati Sambhaji Maharaj, who is known for his military prowess and administrative acumen. But this film is less about historical accuracy and more about the creation of a legend that serves contemporary political purposes. Chhaava illustrates Sambhaji as a larger-than-life figure, a symbol of Hindu resistance against Muslim rule.
Meanwhile, the complexities of his reign and his alliances with various communities, including Muslims have been deliberately excluded. This selective portrayal is not accidental, but a strategic attempt to strengthen the Hindutva narrative of Hindu victimhood and Muslim oppression.
By portraying Sambhaji Maharaj as a unifier of Hindus against the “common enemy”, the film aligns with the right-wing rhetoric of Hindu consolidation and its efforts to marginalise India’s Muslim population. The film’s dialogue and imagery are laden with Hindutva symbolism. The repeated invocation of “Bharat Mata” (Mother India) to the portrayal of Sambhaji as a divine figure destined to protect Hinduism successfully whipped up the crowds to a frenzy.
In fact, there was an incident, where audiences after watching Chhaava went on the rampage, and vandalised signboards at Akbar Road and Humayun Road in Delhi and pasted posters of Chhatrapati Shivaji over them.
Historical Distortions and the Politics of Memory
One of the most annoying aspects of Chhaava is its distortion of history. Indian cinema has a long tradition of caste and communal bias. It has always perpetuated stereotypes and erased the contributions of marginalised communities. Chhaava is no exception.
In this film, Sambhaji Maharaj has been shown as a saviour of Hindus. It ignores the fact that his reign was marked by strategic alliances with Muslim rulers and his administration included officials from diverse religious backgrounds.
This erasure of historical nuance is not just a matter of artistic licence; it is a political act. By simplifying history into a binary of Hindu heroes and Muslim villains, films like Chhaava contribute to the Hindutva project of homogenising Indian identity and excluding minority communities from the national narrative. This is particularly dangerous in a country as diverse as India, where communal tensions have often been fuelled by distorted historical narratives.
The Role of Cinema in Shaping Public Opinion
The power of the film is in the ability to shape public opinion by appealing to emotions rather than reason. Movies like Chhaava are designed to evoke pride and unity among Hindu audiences, and suspicion and hatred for Muslims. This emotional manipulation is achieved through visual spectacle, stirring music, and dialogue that resonates with Hindutva slogans. There are numerous scenes when Sambhaji Maharaj takes his army into battle accompanied by rousing background music and chants of “Har Har Mahadev” (a Hindu religious slogan). These scenes are not just dramatic; they are designed to inspire a sense of collective identity and purpose among Hindu viewers, reinforcing the idea that they are part of a larger struggle against external threats.
At the same time, the film’s portrayal of Muslim characters as uniformly evil and oppressive serves to dehumanise India’s Muslim population, making it easier to justify discriminatory policies and acts of violence against them. This is not just a theoretical concern; there is ample evidence to suggest that films with communal themes have contributed to real-world violence, from the anti-Sikh riots of 1984 to the Gujarat riots of 2002.
The Commercialisation of Hindutva
Another important aspect of films like Chhaava is their commercial success. The film has been marketed as a patriotic epic, appealing to a wide audience by tapping into sentiments of national pride and cultural identity. This commercialisation of Hindutva is a key strategy of the BJP and its allies, who have successfully leveraged popular culture to mainstream their ideology.
The financial success of such films also ensures their continued production, creating a self-perpetuating cycle of propaganda. As more filmmakers see the commercial potential of Hindutva-themed films, they are incentivised to produce content that aligns with the ruling party’s agenda, further entrenching the ideology in the public consciousness.
Critical Engagement and Alternative Narratives
As films like Chhaava will continue to be produced to reinforce the Hindutva agenda, they must be countered through various creative means. Audiences should be educated to question their narratives and seek out alternative perspectives. This is particularly important in an era of misinformation, where films and other forms of media are increasingly being used to manipulate public opinion.
One way to counter the influence of Hindutva propaganda is to support films that offer more nuanced and inclusive portrayals of Indian history and culture. Films like Article 15 (2019), which addresses caste discrimination, and Fandry (2013), which explores the lives of Dalit communities, demonstrate that cinema can be a powerful tool for social justice and equality. By promoting such films, audiences can challenge the dominance of Hindutva narratives and contribute to a more pluralistic and democratic society.