Here’s a bold statement: Emraan Hashmi thinks critics of films like Dhurandhar have a ‘crap mentality’—but is he missing the bigger picture? Fresh off the success of The Ba*ds of Bollywood, Hashmi is now gearing up for Netflix’s upcoming series Taskaree: The Smuggler’s Web. Yet, it’s not his new role that’s making headlines—it’s his passionate defense of Dhurandhar, a film he openly admits he hasn’t even watched. But here’s where it gets controversial: Hashmi calls out critics for what he sees as their negativity, arguing that instead of tearing down successful films, the industry should celebrate them. After all, he reasons, a thriving film boosts the industry and keeps the money flowing. And this is the part most people miss: he even praises Dhurandhar’s marketing strategy, marveling at how audiences are flocking to a nearly three-and-a-half-hour epic, including midnight and early-morning screenings.
Hashmi labels Dhurandhar a ‘great film’ based solely on its box office dominance, dismissing critics with a shrug: if people are buying tickets, who are they to complain? This argument aligns with Bollywood’s age-old belief that numbers silence dissent. But Dhurandhar isn’t just another blockbuster. It’s one of the most polarizing Indian releases in recent memory, especially across borders. Financially, it’s a juggernaut—shattering records to become the highest-grossing Hindi film domestically and cementing Ranveer Singh’s star power. Yet, politically and culturally, it’s a lightning rod for controversy.
From its release, Dhurandhar has been slammed for its ideological slant, with critics calling it thinly veiled propaganda masquerading as espionage cinema. Its portrayal of regional politics, nationalism, and history has sparked unease in both Pakistan and India. Even Hrithik Roshan, no stranger to patriotic blockbusters like Fighter, publicly distanced himself from Dhurandhar’s politics, a rare move in an industry that rarely questions a hit’s ideological roots. Online, the debate rages on, with the film reportedly banned in the Middle East for its ‘anti-Pakistan messaging’ and facing backlash from the Baloch community for alleged hate speech.
Some celebrate Dhurandhar as bold, unapologetic entertainment, while others see it as a troubling example of how commercial cinema oversimplifies complex political issues into jingoistic spectacle. This makes Hashmi’s defense feel less like a stand for artistic freedom and more like a reflexive Bollywood mantra: if it sells, don’t question it. And here’s the irony: he dismisses criticism as ‘crap mentality’ while admitting he hasn’t even seen the film. It’s a stance that sidesteps the core of the criticism—not the film’s technical polish or marketability, but its messaging, omissions, and amplifications.
So, here’s the question for you: Is commercial success enough to silence criticism, or should films be held accountable for their ideological impact? Do you agree with Hashmi’s take, or does Dhurandhar’s controversy prove that box office numbers aren’t the whole story? Let’s spark a discussion—share your thoughts in the comments!
