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Bollywood, after pushing a pro-Islamic agenda for over 100 years, is finally boycotted



The Hindi film industry is popularly known as Bollywood. Though Bollywood is based in India and its primary audience is Hindus, it is alleged that its loyalties are with Pakistan and the Muslims. In one of its most popular, time-honored cult movies, Deewar (1975), Bollywood presents its Hindu protagonist as a strong atheist who doesn’t enter a Hindu temple, doesn’t consume the offering of the deities, and abuses the Hindu deity to his heart’s content. The same atheist sports the Islamic number 786 engraved on a metal plate and expresses his reverence towards it throughout the movie.

While the naïve Hindu audience made this film a commercial success in the 70s, they had no idea how it planted the idea of “Hindu gods bad, Islamic values good” in their subconscious. This was the ideology they would now be carrying and passing through generations, albeit inadvertently. The then Hindu population, largely secular, liberal, and relatively less-rooted in religiosity, was, thus, slowly and steadily pushed toward Islam by one of the significant cultural vehicles of the Indian subcontinent.

Bollywood’s disdain for Hindu beliefs was so strong that they altered the name of a revered Hindu deity, Ram, into the caricature of a stupid servant serving the affluent Hindu families named “Ramu.”

For decades, through their movies and life choices, they shamed Hindus for performing their rituals and promoted Islamic rituals, regardless of the logic or the lack thereof. They have criticized the Hindus for offering a little milk to their deity on a particular day, citing “wastage” while carrying chadars worth thousands on their heads to put on a long-dead Muslim “saint” buried in an Islamic shrine. Ahead of every Hindu festival, Bollywood celebrities humiliate Hindus for setting off fireworks or playing with colors, claiming that these activities “scare” animals. At the same time, on Eid, they send out good wishes and messages of love and happiness, while cherishing animals on their plate. Bollywood Muslims labeled Hindu festivals such as Karwachauth and Rakshabandhan misogynistic because a wife or a sister prays for the well-being of her husband and brother, and glorified Qur’an-based Islamic practices such as Nikah Halala, in which a divorced Muslim woman is forced into sex with another man to become eligible for her ex-husband to take her back (cf. Qur’an 2:229-230). They have glorified Sufism and bastardized the existence of non-Muslims by repetitive kafir-shaming through music and dialogue.

Bollywood, through its films, had desperately tried to whitewash Islamic crimes as serious as jihad terrorism. Following every act of Islamic terrorism, they hurry to make a movie presenting Muslims as the hapless, defenseless, persecuted victims in India and outside. After Islamic jihadis torched the Sabarmati Express, killing over 50 Hindu devotees and prompting the infamous 2002 Gujarat riots, Bollywood made films such as Firaaq, showcasing the fabricated victimhood of the Muslims in India. The country struggled to recover from the deadly 2008 Mumbai blasts. The Mumbai-based film industry released Kurbaan in 2009 to present Islamic terrorists as the real victims and not perpetrators of terror, thereby fooling one of the world’s largest populations into sympathizing with them. Working with the 9/11 attacks as the backdrop of their plots, films such as My Name is Khan and New York painted American Muslims as the ultimate victims of white hate and bigotry, almost whitewashing the Islamic acts of terror. A famous filmmaker with a history of sharing a stage with terror-accused fugitive Islamic propagandist Zakir Naik had met the members of the Hamas-linked Council on American-Islamic Relations (CAIR), a USA-based Islamic organization that provided a platform to Kashmiri separatists and supported anti-India movements, to gain a better understanding of the discrimination and harassment that Muslims in America allegedly face.

Though hundreds of thousands of Kashmiri Hindus were brutally raped and/or killed and driven out of their homes in the 90s by Islamic jihadis, Bollywood movies such as Fanaah, Haider, and Mission Kashmir always portrayed the pro-separatist militants in Kashmir as charming and benevolent heroes wronged by the Indian government, army or other institutions, often, if not always, justifying their violence.

One can no longer deny the existence of Love Jihad in India, an evil practice often known as Grooming Jihad. Bollywood films have played a vital role in promoting Love Jihad and pushing Hindu girls toward Muslim men who force them to convert and sometimes get them gang-raped or killed. When actresses Sharmila Tagore and Amrita Singh were made to convert to Islam after marrying their Muslim husbands, no feminist in the industry questioned this.

Some Bollywood personalities have alleged links with the Islamic dons of the underworld who planned jihad attacks in their cities. As per reports, Dawood Ibrahim had ruled Bollywood and called the shots from behind the scenes for years; he had financed films, made or marred careers, and even got dissident film-makers killed. And yet famous industry members admitted to having paid cordial visits to him and referred to him with polite salutations.

In the past couple of years, the Hindu audience has finally had its long-awaited awakening; it would be unfair if we don’t give the ruling party its much-deserved credit for this. After the BJP assumed power in 2014, many Bollywood personalities hiding behind a frail secular veneer bared their Islamic fangs. With no knowledge of the matter, they protested every Act or Law introduced by the government, made ill-informed comments, abused Hindus, cried victim and then dug their heads in the sand when Muslim rioters slaughtered innocent Hindus in Kashmir, Delhi or Jhadkhand. Hindus have recognized Bollywood as the pro-Islamic propaganda machine that it is. Thus they distanced themselves from such films and called for a total boycott of Bollywood. The industry has recorded significant losses due to this boycott, but will it mend its ways? The rot runs very deep, and any reconciliation with the audience now appears unlikely.