Bollywood’s worrying Islamophobic trend – OpEd – Eurasia Review

The Hindi film industry, affectionately known as Bollywood, has long been celebrated for its vibrant, larger-than-life cinematic experiences. With roots dating back to Bombay (now Mumbai), Bollywood has become a cultural juggernaut, releasing 50 to 100 mainstream films each year that are enjoyed by billions of people around the world. Despite its vast influence and India’s large Muslim population (over 14% as of 2021), Bollywood’s portrayal of Muslims has often been problematic. In recent years, there has been a worrying trend where Islamophobia has increasingly infiltrated Bollywood films, mirroring and exacerbating real-life prejudices.

Historically, the portrayal of Muslims in Bollywood has been more balanced and respectful. In the 1950s and 1960s, a period marked by secularism and relatively harmonious Hindu-Muslim relations, films like “Anarkali,” “Mughal-e-Azam,” and “Mumtaz Mahal” celebrated the rich cultural contributions of Indian Muslims. However, since the Bharatiya Janata Party (BJP) came to power in 2014, there has been a marked increase in Islamophobic discourse in mainstream Bollywood. The BJP’s tenure has coincided with an increase in communal tensions and a rise in Islamophobic rhetoric. A research paper by Zainab Sikander notes that this political climate has influenced Bollywood, leading to the demonization of Muslims on screen. The portrayal of Muslim characters has shifted from nuanced and dignified to stereotypical and negative. Films like “Padmaavat” (2018), which portrays Alauddin Khilji as a perverted and bloodthirsty villain, and “Panipat” and “Tanhaji”, where Muslim antagonists are similarly demonised, reflect this disturbing trend.

This development is part of a broader campaign to rewrite history and marginalize Muslim contributions to Indian culture. For example, the Indian Council of Historical Research recently excluded Muslim rulers from an exhibition on medieval dynasties, claiming that they had destroyed Indian civilization. Such actions reinforce a narrative that presents Muslims as invaders and enemies, both in history and in contemporary society. The post-9/11 global narrative that equates Islam with terrorism has also found its way into Bollywood. Films like “Kabul Express,” “Baby,” and “New York” often feature Muslim terrorists with ties to global jihadist organizations. This trope perpetuates harmful stereotypes and fosters a climate of suspicion and hostility toward Muslims. In “Sarfarosh,” for example, the actions of the Muslim villains are motivated by historical grievances, reinforcing the idea that Muslims are perpetual outsiders and antagonists.

The portrayal of Muslims in Bollywood is not limited to antagonistic roles; even when Muslims are portrayed positively, it is often through the prism of nationalist loyalty. This “good Muslim/bad Muslim” dichotomy is evident in films like “Chak De India,” where Shahrukh Khan’s character redeems his patriotism through sports, and “My Name Is Khan,” where the protagonist must prove that not all Muslims are terrorists. These narratives imply that Muslims must constantly demonstrate their loyalty to India in order to be accepted, a burden that is not imposed on characters of other faiths.

Additionally, Bollywood often resorts to negative stereotypes to portray Muslim men. Characters are often portrayed as domestic abusers or neglectful fathers, as seen in films like “Darlings,” “Zindagi Na Milegi Dobara,” and “Secret Superstar.” This one-dimensional portrayal perpetuates the idea that Muslim men are inherently oppressive, an idea that is not only false but deeply damaging. Hanan Irfan rightly points out that the problem is not the portrayal of flawed Muslim characters, but the lack of diverse representation. When the only representation of a Muslim man is that of a violent aggressor, it creates a monolithic and harmful stereotype. Author Chimamanda Ngozi Adichie’s concept of “the one story” highlights the danger of such portrayals: they simplify and distort the reality of a diverse and complex community.

Muslim women in Bollywood are no better off. They are often portrayed as hypersexualized, oppressed, or seeking salvation from their Muslim identity. Films like “Ae Dil Hai Mushkil” and “Gully Boy” depict Muslim women rejecting their religious practices to gain freedom, reinforcing the stereotype that Islam is inherently oppressive. The portrayal of Muslim women as victims who must be rescued by non-Muslim saviors reflects a larger political and cultural narrative that infantilizes and marginalizes them.

The love-jihad myth, which suggests that Muslim men seduce Hindu women to convert them to Islam, is another harmful narrative perpetuated by Bollywood. This myth vilifies Muslim men and infantilises Hindu women, turning personal relationships into political statements. Films like “Veer Zara”, “Pathan” and “Ek Tha Tiger” often show Muslim women abandoning their faith for love, while Hindu women retain their religion, reinforcing double standards and religious prejudices.

In conclusion, Bollywood’s portrayal of Muslims has become increasingly problematic, reflecting and amplifying real-world Islamophobia. The industry’s reliance on stereotypes and negative tropes not only misrepresents a significant portion of the Indian population, but also contributes to their marginalization. As Bollywood continues to influence millions, it has a responsibility to portray Muslims with the complexity and dignity they deserve. Authentic representation, free from political agendas and harmful stereotypes, is essential to fostering understanding and unity in a diverse society. Bollywood must strive to create characters and narratives that Muslims can relate to, characters that reflect their real lives, struggles, and aspirations. Only then can Bollywood truly celebrate the rich tapestry of Indian culture and society.