Hindi Cinema, popularly known as Bollywood (coined from a combination of Bombay and Hollywood), has held a prominent position in Indian Cinema ever since its inception. It has garnered, through its diverse and colourful range of films, national and international acclaim over the decades. While Hindi Cinema, just like other cinemas in the world, has very well served the purpose of entertaining the audience as well as addressing societal issues, It’s also essential to acknowledge and address one negative and dark aspect which is too serious and repugnant to be overlooked. And that is the troubling trend of misrepresenting Muslims in its narratives.
Despite being the second largest community in India, Muslims have often been subject to misrepresentation in Bollywood films. Their identity has always been manipulated and distorted. Sometimes, they are portrayed as terrorists, traitors and despots, while in other instances, they are depicted as domestic abusers, wife beaters, extremists or individuals aiding Pakistan in hostile actions against India. We simply can’t ignore the fact that it has also been engulfed in the crisis surrounding Muslim identity in India, which is being fueled by the proponents of Hindutva.
Muslim Stereotypes Through Historical Lens
After partition, Muslims were a thriving community in India. The government and public held a relatively secular attitude towards them which was reflected in their portrayal in movies. Films like “Anarkali (1953), Mughl-e Azam(1960), Chaudahvi Ka Chand(1960) and Pakeezah (1972)” showcased the rich traditions of the Muslim community. However, Bollywood gradually devolved into its darker side, influenced by socio-political climate and cultural perceptions.
Following the footprints of Hollywood, it also began to exploit the characters of Muslims. And the notion linking Muslims with terrorism spread throughout the world after the 9/11 incident, and was reflected in movies such as Kabul Express(2006), New York(2009), and Baby(2015) where Muslim characters were consistently portrayed as antagonists somehow affiliated with ISIS or Al Qaeda.
In Bollywood, a Muslim man is invariably kohl-eyed, donning a skull cap, a black or white kurta, and an amulet around his neck. He has an abundance of facial hair but no moustache. He also speaks Urdu fluently, occasionally using the words Janab, Bhaijan, and Begum.
Bollywood movies also perpetuate the horrible idea and promote the harmful stereotype that Muslim males are violent spouses, unfaithful husbands, or simply lousy fathers. For instance, in Darlings (2022), Hamza is shown frequently physically assaulting his wife. In Zindagi Na Milegi Dobara(2011), out of the three main male characters, only the Muslim one has a horrible biological father who abandoned him. In Secret Superstar(2017), Insia’s father, who appears is the one who frequently mistreats her mother and discourages her from pursuing a singing career.
Underlying Message in Bollywood’s Attitude
Although some could argue that this is a favourable portrayal, the underlying message implies that being Muslim is acceptable only if one showcases his unwavering love for one’s nation. In movies, no other characters from different faiths are burdened with the need to continuously prove their patriotism. The issue is not that Muslims are consistently portrayed as wife-beaters, as Hanan Irfan correctly notes, but rather that wife-beaters are consistently portrayed as Muslims only. Why? They would even ensure that the abuser is a Muslim in narratives when the man’s religious identity serves no purpose to the plot.
Hence, the problem lies not in the portrayal of sinful Muslim characters, but rather in the fact that this is the sole manner in which they are portrayed. For instance, in a casual scenario, Dunki (2023) insensitively stages an army (potentially Iranian) trying to apprehend a bunch of Indian trespassers who are entering the United Kingdom unlawfully, with the army leader on the verge of raping an Indian woman. The scene has no purpose other than to highlight anti-Muslim sentiment at random and is unnecessary to the main plot. Similarly, in the explosive blockbuster “Animal” (2023), the narrative unfairly vilifies Muslim women and depicts Abrar Haque as a vicious, hideous foe in a tale of revenge and family conflict.
Conclusion & Opinion
Cinema, the art of motion pictures, serves as a mirror reflecting society’s essence. It unveils the realities and provides a window into the pulse of our communities. Given its profound impact on shaping perceptions, cinema stands as a potent force influencing how individuals perceive the world. This is why cinema must uphold authenticity and refrain from manipulation. Regrettably, contemporary Hindi Cinema falls short of these noble expectations. Instead of serving as a doctor’s lancet, it has transformed into a destructive weapon. With a global audience of billions, it is paramount that the characters and narratives do not further alienate the marginalized communities.
The idea that movies don’t affect real life is corrosive. Individuals form their ideas and opinions according to the media they see. Maidul Islam observes that the stereotypical portrayal of Muslims results in superfluous symbolism. The impression you carry home with you is what happens when you watch movies and witness a man with a skull cap being ridiculed while his obedient hijabi woman shrinks at his side. In my opinion, good cinema is the one that presents the true picture of society, imparts valuable lessons to its viewers, presents the dichotomy of good and evil, and contributes to the fight against social injustices.
When we look deeper into Hindi Cinema, we realize that it has departed from its bigger purpose. When certain movies solely glorify violence without any meaningful purpose, while others spread hatred, communalism and marginalization of a particular community, it becomes apparent that the misrepresentation of Muslims is a deliberate effort to achieve political objectives.