Rajkumar Hirani’s PK has now become the biggest hit of all time in India, grossing over 300 crores INR (50 million US Dollars) at the domestic box office. At the same time, PK has sparked protests across the country, with right-wing groups led by the Rashtriya Swayamsevak Sangh (RSS), Vishva Hindu Parishad (VHP), and its youth wing Bajrang Dal demanding the film be banned for offending Hindu sentiments.
How is PK able to do both, that too in a deeply religious society like India?
“Naari ka sharir ek mandir hai”
Mainstream Bollywood is very much a religious medium. A large number of films are overtly Hindu, featuring upper-caste Hindu characters, their values, relationships and stories. Where films are not expressly retelling Hindu myths and legends, they remain very much grounded in religious customs, imagery and vocabulary. Films start with devotional imagery and music, and the presence of religion remains strong in the unquestioned presentation of practices, beliefs, miracles and divine interventions throughout the narrative.
The Hindi film industry takes pride in being “secular”. But as Rachel Dwyer argues, in Bollywood this takes the shape of giving equal respect to each religion, resulting in very high regard being placed on religion as a whole.
“Hindu banega na Musalman banega, Insaan ki aulad hai insaan banega”
The more sensitive Bollywood films talk of tolerance and coexistence, of patriotism over individual religious differences, and of being a good person above everything else. Some powerful examples include films like Mr. and Mrs. Iyer, in which a high-born Brahmin Hindu female protagonist, Meena, overcomes her prejudice about Muslims during a bus journey; and Dhool ka Phool, a film about a deserted child socially ostracized because no one knows his religion (the film also features the popular song “hindu banega na musalman banega, insaan ki aulad hai insaan banega”). Another film subtly exploring this theme is Delhi 6, which brilliantly depicts the “Kaala Bandar” as residing in our hearts, fueled by our preexisting biases and prejudices.
Some Bollywood films go a step further and tell the story of how corrupt religious gurus exploit faith for personal enrichment and power. Paresh Rawal’s OMG: Oh My God released in 2012 is the most obvious example. Though at times preachy, the film captures the misuse and commercialization of organized religion well, but ends with the atheist protagonist Kanjilal recognizing the existence of the one true God, Lord Krishna.
Few mainstream Hindi films can be considered anti-religion, even in the loosest sense. (This is not true for regional cinema, which has some notable exceptions, including Satyajit Ray’s Bengali films such as Devi). Even the critically acclaimed 1954 film Nastik remains squarely within Bollywood’s comfort zone: Anil, who dissociates himself from religion after suffering from Partition-related violence, regains his faith after a long journey of revenge and redemption, and the film befittingly ends with the song “iss jag meiN bhagwan ka jhanda, kabhi na jhukne paaye ga”.
“Tum har Tuesday Mandir aatay ho? How sweet!”
Not surprisingly, therefore, overtly religious characters command great admiration and respect in mainstream Hindi films –being religious is the true encapsulation of “sankriti” or culture. Recall the famous mandir scene in Kuch Kuch Hota Hai, in which Tina falls madly in love with Rahul when she finds out he secretly goes to the temple for prayer every Tuesday, or the beaming faces of Rahul and Anjali in Kabhi Khushi Kabhi Gham, when they wake up to witness Rohan and Pooh singing their ritual morning bhajan.
In contrast, non-religious, agnostic or atheist characters are often portrayed as either angry and misguided, or immoral and corrupt. Very conveniently, they either regain their faith or are defeated by the piety of their religious counterparts by the time the film ends. Shahrukh Khan’s film Guddu is an apt illustration. Guddu’s father is shown as a staunch atheist patriarch, who constantly belittles his wife because of her faith. Guddu is later diagnosed with brain tumor, which is eventually cured only because of his mother’s five-day prayer (which also causes her own death). The atheist father repents, of course, and rediscovers his faith.
In this sense, Bollywood has not been able to adequately represent the changing attitudes towards religion in Indian society. In a 2012 Gallup survey, for example, 13% Indians stated they were not religious, 3% claimed they were atheist, and another 3% reported being unsure. Recently, the Bombay High Court upheld a couple’s contention that they had the right not to impose a religion on their child. In doing so, the Court recognized the right not to have a belief is also protected by the right to freedom of religion and belief. Bollywood also has its share of non-religious celebrities – Ram Gopal Varma, Javed Akhtar, Farhan Akhar, John Abraham, just to name a few, have spoken openly about their atheism.
“Jo dar gaya, who mandir gaya”
PK’s makers, actors and supporters defend the film against Hindutva attacks by claiming it only exposes corrupt practices that take place in the name of religion, an understandable watering down of its content to make the film less controversial and easier to digest.
But is PK really just a film about greedy godmen?
An interview with the film’s writers Rajkumar Hirani and Abhijit Joshi soon after the film’s release is telling. When asked why they cast Aamir Khan as the lead, they say that Aamir believed in the ideology of film – while they themselves were more agnostic, Aamir had “atheistic beliefs”, which meant he was comfortable doing the scenes that religious actors would hesitate about. The writers were very conscious that PK moves beyond Bollywood’s comfort zone into more contentious, even sacrilegious territory.
The screenplay reinforces this further. When PK gets to know about Bhagwan in our world, he is very surprised and remarks “ee gola ka log yeh jaan gaya tha, ke unka manufacture kon kiya hai…aisa magic miracle humra gola par toh nahiN hai”. That there is no concept of God in PK’s world is important – his planet, after all, is shown as more advanced compared to Earth, one where people don’t lie; only communicate through touch and telepathy; and are so close to nature that they don’t have to rely on artificial constructs like clothing.
PK’s beautifully written and delivered monologue in his face-off with Tapasvi Maharaj during the climax of the film emphatically illustrates the film’s “message” and is worth reproducing here:
“Konse bhagwan par vishwaas karein? Aap log bolta hai ek Bhagwaan hai. Hum kehta hai nahiN…do bhagwan haiN. Ek jo hum sab ko banaya, aur ek jis ko tum banaya.
Jo hum sab ko banaya, uske bare meiN hum kuch nahiN jaanta. Lekin jiska tum log banaya, who bilkul tumhare jaisa hai. Chota. Ghoos leta hai. Jhootay waday karta hai. AmeeroN ko jaldi milta hai, ghareeboN ko line mein khara karta hai. Tareef se khush hota hai, baat baat par daraata hai.
Humara right number bohot hee simple hai. Jo bhawan hum sab ka banaya, uspar vishwaas karo. Aur jis ko tum log banaya, uss duplicate God ko, hata diyo.”
How far the audiences agree with PK’s substance and what they take from it may of course be altogether different (and is equally important), but there is enough material in the film to show that perhaps for the first time in Bollywood, PK presents a critique of the very idea of religion. Unlike OMG, which the film is unfairly compared to, PK raises critical questions about God’s existence and form; the foundations of faith; and the meaning of ritual and worship. These questions are relevant at all times, but are especially significant today at a time of “love jihad”, “ghar wapasi” and rising religious militancy.
“Hum gaya hooN moon pe…bohot he L** place hai”
But what makes PK truly unique is that it does so in an engaging –even entertaining - manner, true to Rajkumar Hirani’s style of filmmaking. We have all at some point wondered what our world would look like from an outsider’s perspective. We have been troubled by our large and small hypocrisies and idiosyncrasies - the nagging power of that small seed of doubt; our double standards about sexual relationships; how we communicate to hide more, say less. The strength of the film lies in all these relatable observations made by a green-eyed, unblinking, Bhojpuri speaking alien, which allow the harder questions about religion and God to be more palatable.
The film’s mass appeal is also why it is facing the wrath of religious groups: unlike art-house films, which preach to limited, already converted audiences, PK’s allegedly blasphemous content is reaching out to every nook and corner in India, presenting a counter-narrative to their hegemonic discourse.
Does the film convincingly give answers to the questions it raises? Perhaps not, but expecting a mainstream Bollywood film to match Bertrand Russell’s Why I am Not a Christian in its depth and complexity would be a tad bit unfair.
Tailpiece: Does the success of films like PK give hope for change in a society struggling with religious intolerance and violence? Precedent does not seem promising. Bollywood has, after all, been making films about corrupt politicians, police brutality and corporate greed since its inception, but the “message” is yet to meaningfully translate into legal, political or social transformation.
The writer can be reached at reema.omer@gmail.com. Twitter: @reema_omer
How is PK able to do both, that too in a deeply religious society like India?
“Naari ka sharir ek mandir hai”
Mainstream Bollywood is very much a religious medium. A large number of films are overtly Hindu, featuring upper-caste Hindu characters, their values, relationships and stories. Where films are not expressly retelling Hindu myths and legends, they remain very much grounded in religious customs, imagery and vocabulary. Films start with devotional imagery and music, and the presence of religion remains strong in the unquestioned presentation of practices, beliefs, miracles and divine interventions throughout the narrative.
The Hindi film industry takes pride in being “secular”. But as Rachel Dwyer argues, in Bollywood this takes the shape of giving equal respect to each religion, resulting in very high regard being placed on religion as a whole.
“Hindu banega na Musalman banega, Insaan ki aulad hai insaan banega”
The more sensitive Bollywood films talk of tolerance and coexistence, of patriotism over individual religious differences, and of being a good person above everything else. Some powerful examples include films like Mr. and Mrs. Iyer, in which a high-born Brahmin Hindu female protagonist, Meena, overcomes her prejudice about Muslims during a bus journey; and Dhool ka Phool, a film about a deserted child socially ostracized because no one knows his religion (the film also features the popular song “hindu banega na musalman banega, insaan ki aulad hai insaan banega”). Another film subtly exploring this theme is Delhi 6, which brilliantly depicts the “Kaala Bandar” as residing in our hearts, fueled by our preexisting biases and prejudices.
Some Bollywood films go a step further and tell the story of how corrupt religious gurus exploit faith for personal enrichment and power. Paresh Rawal’s OMG: Oh My God released in 2012 is the most obvious example. Though at times preachy, the film captures the misuse and commercialization of organized religion well, but ends with the atheist protagonist Kanjilal recognizing the existence of the one true God, Lord Krishna.
Few mainstream Hindi films can be considered anti-religion, even in the loosest sense. (This is not true for regional cinema, which has some notable exceptions, including Satyajit Ray’s Bengali films such as Devi). Even the critically acclaimed 1954 film Nastik remains squarely within Bollywood’s comfort zone: Anil, who dissociates himself from religion after suffering from Partition-related violence, regains his faith after a long journey of revenge and redemption, and the film befittingly ends with the song “iss jag meiN bhagwan ka jhanda, kabhi na jhukne paaye ga”.
“Tum har Tuesday Mandir aatay ho? How sweet!”
Not surprisingly, therefore, overtly religious characters command great admiration and respect in mainstream Hindi films –being religious is the true encapsulation of “sankriti” or culture. Recall the famous mandir scene in Kuch Kuch Hota Hai, in which Tina falls madly in love with Rahul when she finds out he secretly goes to the temple for prayer every Tuesday, or the beaming faces of Rahul and Anjali in Kabhi Khushi Kabhi Gham, when they wake up to witness Rohan and Pooh singing their ritual morning bhajan.
In contrast, non-religious, agnostic or atheist characters are often portrayed as either angry and misguided, or immoral and corrupt. Very conveniently, they either regain their faith or are defeated by the piety of their religious counterparts by the time the film ends. Shahrukh Khan’s film Guddu is an apt illustration. Guddu’s father is shown as a staunch atheist patriarch, who constantly belittles his wife because of her faith. Guddu is later diagnosed with brain tumor, which is eventually cured only because of his mother’s five-day prayer (which also causes her own death). The atheist father repents, of course, and rediscovers his faith.
In this sense, Bollywood has not been able to adequately represent the changing attitudes towards religion in Indian society. In a 2012 Gallup survey, for example, 13% Indians stated they were not religious, 3% claimed they were atheist, and another 3% reported being unsure. Recently, the Bombay High Court upheld a couple’s contention that they had the right not to impose a religion on their child. In doing so, the Court recognized the right not to have a belief is also protected by the right to freedom of religion and belief. Bollywood also has its share of non-religious celebrities – Ram Gopal Varma, Javed Akhtar, Farhan Akhar, John Abraham, just to name a few, have spoken openly about their atheism.
“Jo dar gaya, who mandir gaya”
PK’s makers, actors and supporters defend the film against Hindutva attacks by claiming it only exposes corrupt practices that take place in the name of religion, an understandable watering down of its content to make the film less controversial and easier to digest.
But is PK really just a film about greedy godmen?
An interview with the film’s writers Rajkumar Hirani and Abhijit Joshi soon after the film’s release is telling. When asked why they cast Aamir Khan as the lead, they say that Aamir believed in the ideology of film – while they themselves were more agnostic, Aamir had “atheistic beliefs”, which meant he was comfortable doing the scenes that religious actors would hesitate about. The writers were very conscious that PK moves beyond Bollywood’s comfort zone into more contentious, even sacrilegious territory.
The screenplay reinforces this further. When PK gets to know about Bhagwan in our world, he is very surprised and remarks “ee gola ka log yeh jaan gaya tha, ke unka manufacture kon kiya hai…aisa magic miracle humra gola par toh nahiN hai”. That there is no concept of God in PK’s world is important – his planet, after all, is shown as more advanced compared to Earth, one where people don’t lie; only communicate through touch and telepathy; and are so close to nature that they don’t have to rely on artificial constructs like clothing.
PK’s beautifully written and delivered monologue in his face-off with Tapasvi Maharaj during the climax of the film emphatically illustrates the film’s “message” and is worth reproducing here:
“Konse bhagwan par vishwaas karein? Aap log bolta hai ek Bhagwaan hai. Hum kehta hai nahiN…do bhagwan haiN. Ek jo hum sab ko banaya, aur ek jis ko tum banaya.
Jo hum sab ko banaya, uske bare meiN hum kuch nahiN jaanta. Lekin jiska tum log banaya, who bilkul tumhare jaisa hai. Chota. Ghoos leta hai. Jhootay waday karta hai. AmeeroN ko jaldi milta hai, ghareeboN ko line mein khara karta hai. Tareef se khush hota hai, baat baat par daraata hai.
Humara right number bohot hee simple hai. Jo bhawan hum sab ka banaya, uspar vishwaas karo. Aur jis ko tum log banaya, uss duplicate God ko, hata diyo.”
How far the audiences agree with PK’s substance and what they take from it may of course be altogether different (and is equally important), but there is enough material in the film to show that perhaps for the first time in Bollywood, PK presents a critique of the very idea of religion. Unlike OMG, which the film is unfairly compared to, PK raises critical questions about God’s existence and form; the foundations of faith; and the meaning of ritual and worship. These questions are relevant at all times, but are especially significant today at a time of “love jihad”, “ghar wapasi” and rising religious militancy.
“Hum gaya hooN moon pe…bohot he L** place hai”
But what makes PK truly unique is that it does so in an engaging –even entertaining - manner, true to Rajkumar Hirani’s style of filmmaking. We have all at some point wondered what our world would look like from an outsider’s perspective. We have been troubled by our large and small hypocrisies and idiosyncrasies - the nagging power of that small seed of doubt; our double standards about sexual relationships; how we communicate to hide more, say less. The strength of the film lies in all these relatable observations made by a green-eyed, unblinking, Bhojpuri speaking alien, which allow the harder questions about religion and God to be more palatable.
Unlike art-house films, which preach to limited, already converted audiences, PK's allegedly blasphemous content is reaching out to every nook and corner in India
The film’s mass appeal is also why it is facing the wrath of religious groups: unlike art-house films, which preach to limited, already converted audiences, PK’s allegedly blasphemous content is reaching out to every nook and corner in India, presenting a counter-narrative to their hegemonic discourse.
Does the film convincingly give answers to the questions it raises? Perhaps not, but expecting a mainstream Bollywood film to match Bertrand Russell’s Why I am Not a Christian in its depth and complexity would be a tad bit unfair.
Tailpiece: Does the success of films like PK give hope for change in a society struggling with religious intolerance and violence? Precedent does not seem promising. Bollywood has, after all, been making films about corrupt politicians, police brutality and corporate greed since its inception, but the “message” is yet to meaningfully translate into legal, political or social transformation.
The writer can be reached at reema.omer@gmail.com. Twitter: @reema_omer