Emraan Hashmi's Bold Defense of 'Dhurandhar' Sparks Debate: Is Box Office Success the Only Judge?
Emraan Hashmi, fresh off the success of 'The Ba***ds of Bollywood' and gearing up for Netflix's 'Taskaree: The Smuggler’s Web,' has stirred up controversy. This time, it's not about his roles, but his staunch defense of the film 'Dhurandhar,' a movie he admits he hasn't even watched!
In an interview with India Today, Hashmi was asked about the success of films like 'Dhurandhar.' His response? "There is a crap mentality in our industry," he stated, suggesting that instead of celebrating success, some people are quick to criticize. He believes that a film's success benefits the entire industry. He also praised the film's marketing, highlighting how audiences are flocking to see it, even for late-night screenings.
But here's where it gets controversial: Hashmi hasn't seen the film, yet he calls it "a great film," marveling at its box office dominance. He seems to be echoing Bollywood's long-standing belief that financial success silences all dissent.
And this is the part most people miss: 'Dhurandhar' is not just another hit; it's one of the most polarizing Indian releases in recent memory. While it has broken records, becoming the highest-grossing Hindi film domestically and giving Akshaye Khanna a significant box office milestone, the film's political and cultural impact is a different story.
From the moment of its release, 'Dhurandhar' has been criticized for its ideological stance, with many viewing it as propaganda. The film's portrayal of regional politics, nationalism, and history has triggered discomfort among audiences in Pakistan and India.
Hrithik Roshan, a star who has benefited from patriotic films, publicly distanced himself from the film's politics, a rare moment of restraint in an industry that usually avoids questioning a blockbuster's ideology. Online, the debate continues, with the film reportedly facing a ban in the Middle East over its “anti-Pakistan messaging.”
Some see the film as gripping entertainment, while others view it as a troubling example of how commercial cinema simplifies complex political realities. Hashmi's defense feels like a familiar Bollywood reflex: if it sells, don't question it. It's almost ironic to dismiss criticism as a "crap mentality" while admitting you haven't engaged with the work being debated. The core of the criticism isn't about the film's technical aspects, but about its message.
What do you think? Do you agree with Hashmi's perspective, or do you believe that a film's message is just as important as its financial success? Share your thoughts in the comments below!
