- Zoya Akhtar’s response about Muslim representation in her films prompts discussions on portrayal and its implications in Bollywood, while critics scrutinize her works for concerns like domestic violence and hijab portrayal.
- The popularity of Bollywood in the Muslim world, contrasts with the recurring negative portrayal of Muslim characters. As Muslims it is imperative that we reconsider and redirect our efforts towards more productive pursuits that are pleasing to Allah.
Zoya Akhtar, the acclaimed Bollywood filmmaker, found herself under the spotlight recently when an Instagram user raised questions about how Muslim characters are depicted in her shows and films. The user’s request was simple yet significant: to showcase “normal Muslims” with stories that aren’t steeped in oppression. The reference seemed aimed at Dia Mirza’s role as Shehnaz in the sixth episode of “Made in Heaven.” Shehnaz’s suicide attempt followed her husband’s (Pravin Dabas) decision to take a second wife, showcasing the practice of polygyny which is permissible in Islam.
In response, Zoya Akhtar listed numerous characters from her films and shows, implying that the Muslim characters she mentioned were portrayed positively: ‘Zaffar Khan and Tanveer in “Luck By Chance,” Imran and Laila in “ZNMD,” Farah Ali in “Dil Dhadakne Do,” practically the entire cast of “Gully Boy,” and the characters Sarfaraz Khan, Leila Shirazi, Kabir, Faiza, and Nawab from “Made In Heaven.”
Yet, critics who have closely examined Zoya’s works might present a different perspective. Take, for example, “Gully Boy,” a movie Zoya herself mentioned as a means of defence. Bollywood film critic Kariha Javaid took a magnifying glass to its Muslim representation. He argued that characters like Murad in “Gully Boy” are working-class men with traces of domestic violence. In a notable critique, he mentioned that while instances of domestic violence do occur in some Muslim households, films tend to disproportionately depict this scenario through Muslim characters.
He also spotlighted the portrayal of Safeena, a hijab-clad woman in “Gully Boy,” who consistently removes her hijab, implying she is adorned in hijab against her will. These depictions raise questions about agency and representation, he says.
Bollywood Mania in the Muslim World
Interestingly, the Arab world’s fascination with Bollywood remains strong. In December 2021, the premiere of “83,” a film by director Kabir Khan that pays homage to India’s cricket history, garnered immense attention in Jeddah, Saudi Arabia (the holy land for Muslims.) Clips of Bollywood star Ranveer Singh showering air kisses in a packed theatre circulated on Instagram.
Pakistan and Bangladesh have also shared a deep-seated enthusiasm for Bollywood’s offerings for many generations, solidifying its influence in the region.
Furthermore, Bollywood’s expanse reaches many other predominantly Muslim nations such as Senegal, Indonesia, and Somalia.
Muslim characters in Indian cinema have often been relegated to the ominous role of a barbaric terrorist. This recurring portrayal, given the immense sway of cinema in India – a place where actors are revered almost like deities – holds the power to transform the country’s narrative in profound ways. This isn’t just mere propaganda; it’s a direct assault on an entire community, leading to their isolation and vulnerability.
Yet, the concern surrounding misrepresentation extends beyond the connection between Muslims and terrorism. It delves into the portrayal of Muslim characters in a grossly negative light. Frequently, we witness the insertion of inaccurate Arabic words, alongside the heavy-handed presence of oppressive and violent patriarchy. This concoction swiftly paints a picture of the average Muslim man on the cinematic canvas. It’s essential to grasp the injurious implications of such distortions; they perpetuate harmful narratives, contributing to a distorted view about an entire community.
Consider this study that sheds light on the impact of movies on people’s perceptions. A group of university students were exposed to a film showcasing the elderly in a disparaging manner. After watching the film, they subsequently began to display more adverse attitudes towards the elderly. This underscores how on-screen portrayals can drastically shape real-world perspectives.
Muslims, it’s time to part ways with Bollywood!
For Muslims, the time has come to part ways with Bollywood. The allure of their offerings will always clash with our Islamic values. The harmful affects of Bollywood films have deepened, evolving from family-friendly productions to content that’s explicit, replete with music which is haram, and laden with themes such as liberalism, individualism, and feminism. These themes actively shape the thoughts of the masses. Lest we forget, women dressed in scanty attire and seductively dancing feature in many of these productions.
Moreover, how can we morally reconcile funnelling our financial resources into a nation deeply implicated in the degradation of human dignity and rights for Muslims, while simultaneously witnessing the harrowing scope of persecution and murder of our Indian Muslim brothers and sisters.
Allah our creator, beckons us for a redirection of one’s endeavours towards Him and more industrious pursuits as we were placed on this Earth to please our creator.
Bollywood’s emulation of Hollywood and India’s tendency to mirror Western practices and embrace Western ideologies are overt. However, our origins trace back to a lineage of trailblazers and pioneers. Muslims, inherently distinctive, are widely acknowledged as the custodians of uniqueness, denoted by the term “gurabah” (strangers.)
It was narrated from Abu Hurairah that the Messenger of Allah (ﷺ) said:
“Islam began as something strange and will go back to being strange, so glad tidings to the strangers.’”
Sunan Ibn Majah 3986
