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Bollywood Mafia Dark Underbelly from the film industry

 


The shocking death of talented actor Sushant Singh Rajput shocked the nation as conspiracy theories swirl around the tastes of the Khans and the infested Mafia of Kapoors. Call for impartial CBI investigation becomes acute

The alleged suicide of Sushant Singh Rajput exposed the dark belly of Bollywood. As information comes to light about how the Bollywood mafia has destroyed Sushant’s career by ensuring that he loses movies, outrage on social networks and stifled discussions in the growing media are increasing. Bollywood has always been in the eye of the storm for accusations of patronage, casting couch, etc.

More than nepotism, serious accusations of spinning pro-Islamist-leftist anti-Indian stories have raised concerns. Films like Article 15 have turned OBC rapists from Dalit girls into Brahmins. This was done to give history a leftist anti-Brahmin twist. This is the case with many other films and now even web series. The latest example is Patal Lok, where the story revolves around portraying the majority community in a bad light. The same movies and web series will never muster the courage to speak honestly about the actions of a specific minority community. Likewise, films like Raees and Haseena Parkar have been cleverly scripted to whitewash the crimes of terrorists and project them as innocent, patriotic or victimized.

Likewise, films like Haider have promoted anti-Indian storytelling. How did these films get permission from the censorship board? Can artistic creativity and freedom get a free pass to distort the facts, especially in sensitive areas like national security and integrity? This can be controversial, as India is a democratic country where everyone has freedom of expression.

If this phenomenon of why films are scripted in this particular way is studied, it stops at the flow of money. No film can be made without money. There are money chasing scripts that can create a divide in society and the country. How it works? Everyone knows that Dawood Ibrahim has been funding Bollywood for a very long time. Over the past two decades, things have gotten worse. Now Dawood is an ISI front and is effectively used by Pakistan and other Islamist groups to carry out their propaganda.

India has become a playground for various foreign interest groups such as the global left and China, which inject money into films and web series. In 2008, George Soros bought a meager 3% stake in Reliance Entertainment from Anil Ambani for US $ 100 million. There would be many more people who directly or indirectly finance such films that divide. Do we know all the foreign sources that finance movies and web series in India?

Another way to fund films is to create film festivals and an ecosystem of awards. These are grants awarded to selected filmmakers to create films that meet their objective. Making the film premiere at various film festivals and ensuring that it receives awards abroad makes the film believable for the gullible masses. Very subtly, propaganda is pushed to their throats, without them even realizing it.

The nomination of Indian films to the Oscars and other awards is a way to create the credibility of directors, producers, actors, scripts, etc. consistent with the ecosystem. This gives recognition to these artists and strength to the underlying propaganda. It is used as a building block for the winners to raise funds for their next films. The glaring example is a mediocre film like Gully Boy – which shows India as a backward country, was sent to the Oscars and was not nominated. How did it happen? Check the members of the Indian film selection committee. Do we not have credible people to select the right Indian films that can be nominated for the Oscars? Why aren’t the Oscars used as a platform to present the Indian side of the story and the Indian narrative?

Underworld and other funds can circulate in movies and web series either by the hawala route or by legitimate official means like Soros investing in Reliance Entertainment. It is impossible to block this path, as cash can flow through legitimate corporate structures set up as production houses or venture capital funds. Steps can be taken to force transparency on the sources of funding for various films and web series. The most crucial link in the chain is control of distribution and exposure. In 2010, India had around 10,000 single screen cinemas and around 800 multiplex screens. About 60% of the total single screens were in four states in southern India and about 10% in Uttar Pradesh. In 2019, India has around 9,600 screens with nearly 3,000 multiplex screens. This shows that over the past decade, more than 3,600 single-screen movie theaters have been closed or converted to multiplexes. According to the global consultancy E&Y, multiplexes now represent 50% of the country’s ticket collections. This shows a slow and steady transition from a widely dispersed unorganized single-screen industry to an organized cartel multiplex industry.

Bollywood Mafia controls the same with extreme impunity. Can a pro-Indian film come out and have enough screens across the country? The answer is a big NO. Between three major production companies, they control a large majority of screens across the country. Multiplexes are a natural choice of producers, due to the transparency in the declaration of collections at the box office. The disappearance of single screens and the rise of multiplex channels have increased the grip of Bollywood Mafia and ensures that foreign films are not broadcast or that they do not get adequate screens. The governments of Maharashtra and Bengal have ensured that Marathi and Bengali films get screen space in the multiplexes. A similar procedure is necessary to promote films made by new and young filmmakers.

Everyone knows that Dawood Ibrahim has been funding Bollywood for a long time. Over the past two decades, things have gotten worse. Now Dawood is a front for ISI and is used by Pakistan and Islamist groups to carry out their propaganda

In addition to legislation and business practices, India needs huge investments in multiplex chains. Compare India with China. In 2010, India had around 11,000 screens, while China had around 6,250 screens. In 2019, India has around 9,600 screens and China has around 70,000 screens. China has one screen for 20,000 odd people, compared to 1 screen for 1,44,000 odd people in India. New investments by independent investors, who are not part of this cabal, are essential. It will not only create a platform for new talent to exhibit their work, but will also break the exclusive control of this cabal in film distribution.

Bollywood urgently needs an alternative team of talented professionals who can identify, nurture and promote talent, identify the right scripts, create pro-Indian production and distribution houses creating nationalist content. This new crop of talent, the making of excellent films with a strong nationalist message and an equally good film production can weaken the grip of Bollywood Mafia. Without talent and content, Indian viewers will be forced to fall back on the default system: Bollywood Mafia.

(The author is a certified chartered accountant and a professional in corporate and investment finance. He is also the author of “Diagnosis GST for Doctors” published by CNBC Books 18)

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