Here’s a bold statement: Emraan Hashmi thinks critics of films like Dhurandhar have a ‘crap mentality,’ and he’s not holding back. Fresh off the success of The Bads of Bollywood, Hashmi is now gearing up for his lead role in Netflix’s upcoming series *Taskaree: The Smuggler’s Web. But it’s not his next project that’s making headlines—it’s his fiery defense of Dhurandhar, a film he openly admits he hasn’t even watched. **And this is the part most people miss: Hashmi’s stance isn’t just about the film’s success; it’s a broader critique of how the industry treats its own creations.
In a recent interview with India Today, Hashmi was asked if the massive success of films like Dhurandhar ever feels like a missed opportunity. His response? ‘There is a crap mentality in our industry.’ He argues that instead of tearing down films, people should celebrate their achievements. After all, a thriving film boosts the industry and keeps the money flowing. But here’s where it gets controversial: Hashmi praises Dhurandhar’s marketing and its ability to draw massive crowds—even for midnight and early-morning screenings—despite its nearly three-and-a-half-hour runtime. He calls it ‘a great film’ and admires its audacity, suggesting that commercial success is the ultimate validation. If people are buying tickets, who are critics to complain?
But here’s where it gets controversial: While Hashmi’s argument aligns with Bollywood’s long-standing belief that box office numbers silence dissent, Dhurandhar is far from just another glossy hit. It’s one of the most polarizing Indian releases in recent memory, especially across borders. Yes, it’s shattered records, becoming the highest-grossing Hindi film domestically and giving Akshaye Khanna a career-defining milestone. It’s also solidified Ranveer Singh as a box office powerhouse. Financially, it’s undeniable.
But politically and culturally, the story is far more complex. From its release, Dhurandhar has faced criticism for its ideological slant, with many labeling it thinly veiled propaganda masquerading as espionage cinema. Its portrayal of regional politics, nationalism, and history has sparked discomfort in both Pakistan and India. Even Hrithik Roshan, whose career has thrived on patriotic blockbusters like Fighter, publicly distanced himself from Dhurandhar’s politics, a rare move in an industry that rarely questions a hit’s ideological roots.
Online, the debate rages on. The film reportedly faced a ban in the Middle East over its ‘anti-Pakistan messaging,’ and its makers had to mute the word ‘Baloch’ following backlash from the Baloch community. Some celebrate it as bold, unapologetic entertainment, while others see it as a troubling example of how commercial cinema oversimplifies complex political issues into jingoistic spectacle.
This brings us back to Hashmi’s defense, which feels less like a stand for artistic freedom and more like a reflexive Bollywood mantra: if it sells, don’t question it. There’s also a subtle irony in dismissing criticism as ‘crap mentality’ while admitting you haven’t even engaged with the work. It sidesteps the core of the criticism—not whether the film is slick or marketable, but what it chooses to say, omit, or amplify.
And this is the part most people miss: Is commercial success enough to silence critique? Or does art, even when it sells, have a responsibility to engage with the complexities it portrays? Hashmi’s comments spark a larger conversation about the role of cinema in society. What do you think? Is he right to defend Dhurandhar’s success, or does its controversial messaging warrant deeper scrutiny? Let’s hear your thoughts in the comments!
