The ongoing discussion about the recently released Malayalam film L2: Empuraan, directed by Prithviraj Sukumaran, largely revolves around its portrayal of the 2002 communal violence in Gujarat. Supporters of the film contend that depiction of this violence is what triggered the protests against it, arguing that such protests undermine the freedom of artistic expression.
Divisive Narrative
However, criticism of L2: Empuraan is not solely due to its one-sided depiction of certain incidents related to the 2002 communal violence in Gujarat. Rather, the concern lies in the overall message of the film, especially to a particular section of society. The film dangerously fuels communal enmity between two groups by presenting a distorted and divisive narrative. Instead of promoting unity and social harmony, it appears to manipulate historical events and societal conflicts to sow distrust and hostility between religious communities. By selectively depicting violence against one community and omitting key aspects of the historical context, the film creates a misleading narrative that pits one group against another. This kind of propagandistic portrayal can have real-world consequences. By glorifying some elements while demonising others, L2: Empuraan risks fostering a toxic environment where ordinary citizens, who have lived peacefully for generations, may be divided.
Fuelling anti-Government Sentiments
The second dangerous aspect of this film lies not only in prompting targeted violence and the assassination of high-ranking political leaders and security officers but also in justifying such acts in the name of revenge. What makes this portrayal even more disturbing is how the film glorifies and justifies targeted assassinations. The dramatic manner in which the character is executed, coupled with a glorified sense of justice, sends a dangerous message—one that could encourage extremist elements and radical groups to view real-life political figures as legitimate targets. This is not just fictional storytelling; it is a direct incitement that could have real-world consequences, potentially fuelling anti-Government sentiments and inspiring acts of violence. There is no justification for the demonisation of high-ranking officials or the promotion of violence against them through a communally sensitive narrative and disturbing scenes. Rather, this should be seen as an effort at radicalisation.
Demonising Govt Agencies
A third important issue is the blatant misuse of the logo of the National Investigation Agency (NIA), the country’s primary agency responsible for counter terrorism. The film’s demonisation of various Government agencies, which work tirelessly to ensure the safety and security of the nation, is a concerning aspect as well. The portrayal of agencies like the NIA and Intelligence Bureau (IB) in the film mirrors the Islamo-Leftist propaganda propagated by certain groups in the country. The unauthorised use of the NIA’s emblem in a commercial film is not only an ethical violation but also a serious legal offense that misleads audiences and tarnishes the reputation of one of Bharat’s most vital investigative bodies. This misrepresentation directly undermines public trust in an institution that plays a crucial role in counter terrorism and national security.
Accidental or Sinister Design
Justification and glorification of terrorists is another important aspect. There is a discussion among those who watched the movie that the resemblance of Prithviraj Sukumaran’s character in the film, Zayed Masood, with Maulana Masood Azhar is mere accidental or part of a sinister design? This is the crux of such discussions.
The wider criticism against the film is not only on the above grounds. On the other hand, it is based on an emerging, and disturbing pattern in the movie industry. A series of recently released films, particularly in Malayalam and Tamil, are marked by the promotion of Islamic-Communist terrorism, unjustifiable violence and brutality, anti-national sentiments, drug abuse, and other anti-social activities. A clear pattern emerges in these controversial films, raising serious concerns about their underlying divisive narratives.
For instance, Malayalam films like Bheeshma Parvam and Mumbai Police feature scenes where the protagonist physically assaults and demeans Naval officers. Depicting defence personnel in a poor light not only undermines morale of the forces but also violates legal and ethical norms that are created to protect our armed forces from being tarnished on the screen. However, such portrayals, especially the denigration of Army and Naval officers in uniform, have become a recurring theme in a section of Malayalam cinema.
Irresponsible Content
Another Malayalam film, Unda, was widely noted for glorifying Maoism. Similarly, Bheeshma Parvam and several other Malayalam-Tamil films unnecessarily incorporated scenes that promote drug use, which resulted in normalisation of intoxicating substance abuse in society. This concern is reinforced by statements from law enforcement agencies, social workers, and psychologists, as Kerala has witnessed a sharp rise in drug trafficking and abuse among youth. Incidents of drug-related offenses involving film industry figures further validate these apprehensions. For example, in 2022, media reported that, Kerala Excise officials raided an apartment owned by Prithviraj Sukumaran and arrested an individual found in possession of a large quantity of narcotics, including cocaine, LSD stamps, and ganja. Authorities confirmed that the arrested person, Nujum Salim, was sourcing drugs from major peddlers in the State.
Dangerous Pattern
This dangerous pattern, characterised by glorification of terrorism, drug culture, targeted violence, demonisation of the Hindu community, anti-national rhetoric, incitement to war against the State, disrespect for national symbols and institutions, and challenges to national integrity, has become a defining trait of certain films. It is imperative for the authorities to take decisive action against this ‘new genre’ of films, both through policy reforms and strict on-ground enforcement. Investigation of the funding patterns of such films is the first step in this direction.
