bunch of thoughts on Bollywood, dhurandhar, cinema, politics, democratic backsliding and Recall value
I watched both parts of dhurandhar and came out with a lot of thoughts.
will start with recall value. It's not the same as box office success. It's not critical acclaim either. Recall value is the simpler, harder question. do you want to watch this again? does it have a life beyond the week it released?
Think about Pathaan. It was a massive success: SRK's comeback, Bollywood crawling out of the pandemic. I get it. But honestly, who's going back to rewatch Pathaan? The film rode the wave and when the wave died, so did the reason to return to it. It was an event, not a film.
I think Dhurandar is headed somewhere similar. Maybe worse, actually.
Part one genuinely had something
What frustrated me a little about the whole experience, whis is that part one actually worked in stretches. The Lyari gang war material was compelling. Aditya Dhar was clearly working from a place of real curiosity there. It's a world with its own texture and weight. I was so absorbed in that part that I honestly didn't even care much about Ranveer Singh's character's backstory which, in an action film built around a hero, is saying something.
That's the version of this film I wanted. That's the filmmaker I was interested in watching.
But then there's Madhavan's character. And that's where I started feeling the other film pushing through. Almost every piece of obvious political messaging in part one comes through him. It's so concentrated in one character that it stops feeling like a creative choice and starts feeling like a script intervention. Like something added, not written.
The moment you have a character essentially explaining why something is bad and who's responsible in a very pointed way, you've lost me.
Part two made it worse. The use of real footage, the way it was cut and shaped, it crossed a line for me. There's a difference between interpretation and revision. Every filmmaker interprets. But when you're using real historical footage to reshape what people remember is weirdly a bit muchh.
The money trail: my conspiracy theory
some of this is partly rumour, partly inference. But I don't think it's paranoid.
From what I understand, the production had a rough journey. Ronnie Screwvala stepped away at some point. Aditya Dhar and Ranveer Singh reportedly worked for free. There was personal investment involved. And then well, i saw the Ambani wedding and which male celebrities were most enthusiastically dancing. And i saw which films ended up getting Jio Studios backing as distributors. I'm not saying there was a contract signed in a room. I'm saying the atmosphere of expectation is real and people make calculations within it. 🤷♀️
The Ambani-BJP connection isn't hidden. These are public relationships. Following that thread isn't a conspiracy theory it's just reading what's in front of you.
Financial desperation mid-production does something to a film. You start making decisions not for the story but for the people now keeping the lights on. And I think that's visible on screen in Dhurandar.
Hollywood does this too but it's different..
The CIA literally has an entertainment liaison office that reads scripts and offers notes. That's not a rumour, it's documented.
What I see happening in Bollywood and more broadly in India feels different. It's not propaganda in a noisy room. It's propaganda in a room where the noise is slowly being turned down. The financing structures, the platform relationships, the quiet threat of regulatory inconvenience, none of it issues a direct order. It just creates an atmosphere where people know what's safe and what isn't.
India's democracy, honestly
India is not a simple authoritarian state. There are courts that push backkkk, regional governments that hold real power. The scale and diversity of the place creates friction that a smaller country wouldn't have.
But there are ceilings. The Kejriwal arrest is the example I keep coming back to. Whatever you think of him or AAP the timing, the charges, the way it all unfolded right before elections. Even people who can't stand Kejriwal had to sit uncomfortably with what that sequence of events looked like. A chief minister of the capital, someone who was genuinely accumulating popular support, going to jail on those charges at that moment.
That's democratic backsliding. It doesn't show up as a coup. It uses real legal processes. Basically the form stays intact while the substance quietly shifts. And because the form stays intact, it's very hard to point at a single moment and say: that's when it broke. Which is exactly the point.
You can't really piss off the important people. That's not democracy as an idea, it's democracy as a brand.
I genuinely appreciate what America represents as an idea, the protest freedom, the ability to be loud and publicly dissatisfied without an income tax raid showing up at your door the next week. That's not nothing. Atleast I don't take that lightly.
But 2026 America has the ICE situation, people being picked up, the fear that's spread through immigrant communities. All of that is not the America of its own self-image. The protests are still happening, which matters. But you can feel them being tested. You can feel the edges of what's permitted being quietly renegotiated.
I think both things can be true. America can be genuinely more free than most places I know and also be in a moment where that freedom is under real pressure.
I don't think so. Not in the way that matters.
Recall value requires something real at the center. You return to a film because it gave you something true moved you.. When the intention behind a film is misplaced, when it's trying to reshape memory rather than illuminate it, that falseness has a half-life. It expires.
And streaming doesn't save it. In a theater you're in a bubble no distractions. The manipulation that a darkened room can absorb becomes visible and annoying on a laptop at home. People will pause. They'll feel the gap between what the film is showing them and what actually happened.
I shoukd repeast that Lyari material shows a filmmaker with genuine range and curiosity. The fact that it's sitting right next to the other film - the pressured one, the compromised one, makes the compromise more visible, not less.