‘History’ has been the subject of political controversy in recent years. This is a new battlefield. Films are being used as the basis for raising suppressed things and forging new identities. The resounding box office success of Lagaan, Jodha Akbar, Bajirao Mastani or Padmavat, and Paisa Batoru films also drew the attention of filmmakers to history-based films.
But cultivating history is not so easy. It demands immense preparation and research. Then it is also a challenge to mold it into the cinematography and meet the tastes of the audience. This is the reason why a lot of history-oriented films looked so weak and lackluster. She was not liked by the audience, while the film did not lack stardom and icons.
Films like Thugs of Hindostan, Mangal Pandey, Ashoka, Kalank, Begumjan, Rangoon, Firangi, The Ghazi Attack, Panipat, Mohenjodaro, Samrat Prithviraj, etc. could not garner praise among the audience. Some films were made keeping in mind the political elections, while some films are being promoted by ministers and politicians. Actually, now filmmakers are doing ‘political sadhana’ through the film instead of ‘film ki sadhana. Needless to say, movies have become more political propaganda, less art.
Films have always been a part of political propaganda, but ultimately the film is an artistic genre. Ideological poverty, weak insight, shallow and conspiratorial dialogue, in which the feeling of hatred towards class, caste, religion, or community is hidden, then films prove to be weak in such a situation. Take ‘The Kashmir Files’ only.
To a large extent, the film is based on evidence and facts, but many such facts have been suppressed or hidden which would have strengthened the society and brought forth a larger idea or message among the audience. but that did not happen. If only some of the good qualities of a particular community are missing, it turns into ‘political propaganda’.