The music world is reeling from AR Rahman’s explosive claim that Hindi cinema is ‘communal.’ The statement has unleashed a torrent of criticism from the sant samaj, who have unhesitatingly labeled the composer a ‘jihadist’ in a heated escalation.
Speaking at a cultural forum, Rahman critiqued the industry’s shift towards films that exploit religious fault lines for box-office success. He lamented the loss of secular ethos that once defined Indian movies, urging creators to prioritize humanity over hate.
Religious leaders, convening urgently in Ayodhya, issued a joint fatwa-like statement denouncing Rahman. ‘This jihadist wants to destroy our cinematic heritage,’ proclaimed a prominent seer, linking his comments to broader cultural battles. Street protests followed, with youth wings of saffron outfits leading the charge.
Rahman’s journey from Chennai’s streets to international fame, with hits like ‘Dil Se’ and ’99 Songs,’ adds layers to the saga. Allies point to his interfaith marriage and peace advocacy as context for his views, countering the jihadist narrative.
Bollywood’s silence is deafening, though whispers suggest upcoming releases might face scrutiny. Social media warriors on both sides are in overdrive, turning the spat into a viral battleground.
This episode forces a reckoning: Is Hindi cinema guilty of communal bias, or is Rahman overstepping? As the dust settles, it serves as a mirror to India’s complex socio-political fabric, where entertainment and ideology are inextricably linked.