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Anurag Kashyap Quits Bollywood: Is This The End of Urduwood? 

By Shruti Dasgupta
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Shruti Dasgupta
Shruti Dasgupta

Anurag Kashyap is the latest in the long line to “Quit” Bollywood for its “Toxic” expectations and work ethics. However, his “quitting” is just a side-effct of the failing propaganda machine of Hindu Cinema. For decades, Bollywood operated on a carefully curated model It ensured the dominance of a particular ideological and cultural narrative. 

The Takeover of Bollywood

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The deliberate takeover of Hindu Cinema can be traced back to the 1950s. Bollywood was gradually taken over by a group of writers and filmmakers who had deep connections with the Progressive Writers’ Association and IPTA (Indian People’s Theatre Association). These organizations, heavily influenced by communist and Islamic ideological figures, shaped toadya’s Bollywood’s storytelling.

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Prominent figures like Kaifi Azmi (father of Shabana Azmi) and Majaz Lakhnavi (uncle of Javed Akhtar) who were deeply involved in pro-Muslim League rhetoric and even wrote taranas for Pakistan were placed on a pedestal.

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Over time, these influences led to systematic stereotyping in Bollywood movies – where Brahmins were portrayed as hypocrites, Rajputs and landlords as tyrants, and Hindu saints as frauds. Meanwhile, any character playing Maulvi and Sufi Snat were always depicted as righteous, noble, and virtuous.

This deliberate distortion of India’s socio-religious structure continued unchecked for decades. 

The 1970s and 80s saw a complete ideological capture with scriptwriting monopolized by figures like Salim-Javed. Consequently, many Hindi films saw a spike in excessive use of Urdu in dialogues and songs. “Secularism” became the theme for Bollywood where Hindu udenity was diluted and typecasted in villain roles. By the 1990s, the underworld funding began to control the narrative of Hindu Cinema. Dawood Ibrahim and others began to whitewash their money through cinema giving rise to the “Khans of Bollywood”. Thereby,  ensured that Bollywood remained a vehicle for certain narratives, sidelining genuine Indian ethos.

Internet, Nationalist Cinema, and Bollywood’s Free Fall

The advent of the Internet Era signalled a free fall for Bollywood. Video streaming platforms and independent content creators exposed Bollywood’s biases. Analysts, social media influencers, and historians revealed how Bollywood manipulated history and suppressed indigenous narratives. Consequently, it impacted the Hindi film industry significantly. 

Indian audiences who once accepted Bollywood’s storytelling as the ultimate truth started questioning the intent and subtext of its themes.

The shift became more pronounced post-2016 with the rise of nationalist content. Monetization of independent digital platforms and increased reach of the internet helped the truth find its voice. Thereby, challenging Bollywood’s old order. Films like The Kashmir Files and The Kerala Story proved that audiences were willing to support stories rooted in truth rather than manufactured narratives.

South Indian cinema, especially Telugu and Kannada films, capitalized on this vacuum. Baahubali revived Indian traditions on screen with Sanskrit verses and a celebration of Hindu identity. Kantara showcased rooted storytelling with elements of devotion and heritage. Now, Chhava is set to break records, proving that audiences want authentic Indian storytelling, not distorted history or propaganda.

Bollywood’s Implosion: Anurag Kashyap and the Decline of Urduwood

Consequently, Anurag Kashyap’s exit from Bollywood is not an isolated event. It heralds the collapse of an entire industry built on ideological manipulation. Kashyap, once a poster boy of the so-called ‘progressive’ Bollywood, failed to adapt to the changing audience mindset. His brand of cinema, which relied on glorifying the dark, gritty, and often anti-traditional aspects of Indian society, no longer appeals to the masses.

Films like Brahmastra flopped despite massive promotions. Pathaan needed artificial box office numbers to create an illusion of success. Rumors state that Karan Johar had to sell stakes in Dharma Productions due to financial strains created by films like Pathaan. Today, Bollywood’s biggest names are scrambling to stay relevant, but audiences are rejecting their content outright.

Meanwhile, filmmakers like Rishab Shetty (Kantara) and Om Raut (Tanhaji) are setting new benchmarks in Indian cinema. 

However, Om Raut’s Adipurush stands as an example of how Bollywood’s insistence on peddling cheap stories faces public ridicule for its shortcomings! Rishab Shetty’s upcoming film on Chhatrapati Shivaji Maharaj is set to showcase an unapologetic and glorious depiction of India’s warrior king, something Bollywood never dared to do.

The Rise of New Indian Cinema

Bollywood’s decline is not just about its financial struggles – it’s a cultural shift. The audience has woken up. The failure of Bollywood’s biggest stars, the rejection of its forced narratives, and the rise of nationalist films signal the end of its Urduwood era. 

The demise of Urduwood signals the birth of a new Indian cinema – one rooted in real history and cultural pride.

As Bollywood gasps for relevance, South Indian cinema is thriving. The era of manufactured narratives is over. Indian audiences have spoken. The future belongs to those who respect and celebrate India’s true identity. And it seems Anurag Kashyap knows this!

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