In December of 2022, actor Ratna Pathak Shah, at a book launch event in Mumbai, had remarked, “RRR is a regressive film as it looks backwards when we should be looking forward.” So, why are we recalling her statement now, when India is celebrating the SS Rajamouli blockbuster yet again? Because, like Shah, who thinks that an unsanitized depiction of India’s history of British colonial oppression is ‘backward looking’ but Taj, a recent web series on 16th century Mughal debauchery with her husband Naseeruddin Shah playing the ageing, bigoted Emperor Akbar is an instance of superlative cinema, the success of the Telugu film on Indian as well as global spheres is turning out to be quite a salty truth to digest! Especially when the money spinner is also loaded with emphatic Hindu iconography and references from Ramayana, Mahabharata and our ancient religious texts.
For an Islamic-Left cabal who would rather flaunt their pretension (not that they would discredit the plight of Jews at the hands of Nazis) with fake narratives peddled by Nehruvian historians and scholars till a few years ago, and who would rather applaud the apologetic brushing of the Mughals in Hindi cinema, it clearly isn’t easy to digest that nothing screams ‘looking forward’ than Naatu Naatu, the energetic RRR foot tapping number, bagging an Oscar for original song. How is so much love, success, adulation and accolades possible for something thoroughly Indian, and most importantly Hindu, and that too without glorifying an incestuous, fanatical, debauched and fratricidal dynasty that ruined the Sanatan soul of Bharat, right? “Ohh Monisha! Yeh nationalism ke naam pe regressive Hindutva chalaana is so backward ghulam class no!” as Maya Sarabhai would opine!
Anyway, why dampen spirits here. After all, Rajamouli and team have completed a dream international awards run that has ended with RRR bagging the golden one for a song written by Chandrabose, sung by Rahul Sipligunj, Kaala Bhairava, choreographed by Prem Rakshith and picturised on the dashing duo of Ram Charan Teja and NTR Junior. The music was given by MM Keeravaani, not MM Kreem, mind you! After seven big awards on foreign shores including a Golden Globe and a Critics Choice Awards, the Oscar (no one is discounting the massive promotions and marketing that Rajamouli must have invested heavily on so that his baby gets the much-deserved buzz and which in today’s times is a must thanks to the dynamics of film and PR industries) must taste like the best icing on the cake ever. Or the caramelised badam on saffron basundi!
A Twitter regular harped that Naatu Naatu’s victory is nothing but a result of clever marketing. Well, could be! Not that anyone is saying that the film just floated via the Pacific Ocean from India to the Academy of Motion Pictures studios and the trick was done! But to brush aside the efforts and originality employed in it reeks of a superior standard of hypocrisy that perhaps was also infused into the laurels showered on Slumdog Millionaire, a film that sold the ‘exotic’ concept of dirty-rotten India to the world! The Indian audience didn’t wait for international acclaim to make the film a blockbuster, to put matters into perspective. They didn’t require validation from the West but yes, there is no denying that the awards now make it part of a wider hall of fame of world cinema. If an Indian is not able to rejoice this fact and tries to sneak in excuses on how to diss the momentous feat then it says more about their colonised spine I guess!
It’s funny how ever since RRR almost initiated a movement for nationalistic cinema (backed by Bharatiya itihasaa, Sanatani subjects and Hindu moorings) in India that unapologetically flaunted Hindu iconography, the liberals have tried to rubbish its legitimacy. What are they scared of? That the present day British will not like the factual representation of their forefathers who colonised our country? For instance, a thread on Twitter complained that it was shameful the film won an Oscar despite its objectionable depiction of the Gond tribe! Now, that was a fresh assault whose cause and legitimacy I am yet to decipher! Just like another thread ran on how The Elephant Whisperers didn’t deserve to win an award at the 95th Academy Award for being the best documentary short because it was helmed by Brahmins. The accusations were obviously from some Dalit Chef page thriving on vicious anti-Brahmin and caste propaganda. The thread made me wonder though whether the participants in the conversation hurling brickbats at the makers even watched the 40 minute documentary, directed by Kartiki Gonsalves and produced by Sikhya Entertainment, owned by Guneet Monga and Achin Jain. At this point, I felt like asking the hatemongers whether they were abusing adorable Raghu and Ammu Kutti or their parents Bomman and Bellie! You know what, doesn’t matter. Skip the toxicity and watch the delightful work that shall warm the cockles of your heart! The Tamil short didn’t get enough mileage before it was selected for the Oscars. Here’s hoping that the milestone brings it the focus it rightly deserves!
And while you are choking on happy tears watching how two tribals in a Tamil Nadu village take care and nurture two baby elephants, the amount of love they invest in the relationship, do take a moment and understand how intrinsic this bond with nature has always been in the context of Sanatan Dharma. Remember Komaram Bheemudu apologising to a tranquilised tiger when he overpowers it for a purpose? Or the way the tribals share a symbiotic relationship with nature in the film and coexist with it without trying to harm it in any way. This adherence to not only indigenous but Hindu philosophy of worshipping nature returns in The Elephant Whisperers where Bellie explains how the forest is like a Bhagwan to the tribals and they don’t wear shoes while walking on the grass as a mark of respect. Bomman is a mahout as well as a priest and the distinction between his work as an elephant’s caregiver and a priest is smudged the moment he envisages devataa in the baby animals he looks after. What a pertinent point made!
Montages of the elephants being decked up in flowers and colourful alpana being applied on their foreheads depict how the simple villagers dress up their deities, with liberal dosage of adoration, admiration and wonder. If Raghu and Ammu are playful, happy elephants, it is the handiwork of their caregivers whose principles in life are rooted in Sanatan philosophies. Something that cuts across borders of language, states and districts because the diversity of India has always been tied together by the core beliefs of a beautiful, binding dharmic outlook. This deep relationship with nature is what the colonisers attacked when they corrupted our land with their selfish capitalistic mores where nature was only to be subverted and extracted from and not nurtured. A thought that is established with citations as well as proof in advocate J Sai Deepak’s bestseller India that is Bharat in case you want backing of the point made.
So, brush the savoury bits aside. It’s been a sweet victory of original content and Bharatiya ethos as India bagged two awards at the world’s biggest forum of cinema for RRR and The Elephant Whisperers. Maybe with these glories, the world’s Hindus, who don’t shy from flaunting their religious identity on their sleeves, could set the narrative straight with ‘Mahoday/Mahodaya, if you let the Left in, you will be Left out!’
