Why It Is Still Acceptable to Insult India

This happened on an ordinary Cambridge street. Dr. V and I ran into acquaintances, who in turn had friends (from medical school; a grandmother & granddaughter) visiting from Australia. Polite introductions. Small talk. The weather. Then, inevitably, India.

One of the women mentioned that her husband was “half Indian.” She smiled and added that he had told her she would definitely not like India. This was offered casually, as if it were neutral information, not an insult delivered in front of two Indians.

Trying to keep the exchange courteous, I mentioned Sri Lanka; not as a deflection, but as a bellwether. Our mutual acquaintances had already mentioned enjoying seeing my birthday pictures from there so I thought it a natural segue.

It is often how people test their appetite for the subcontinent: more contained, more legible, still culturally rich. If one enjoys that, India follows naturally; if not, India can feel overwhelming. This was not a provocation. Yet the suggestion was met with laughter, as though I had committed a social error. It was after this, not before, that the tone hardened and the remark about her granddaughter emerged, delivered with surprising persistence, as if the earlier politeness had licensed open disdain.

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Dhurandhar showcases Bollywood’s New Obsession: The Sexy Pakistani Villain

We watched Dhurandhar last night at Apple Cinemas (the last time we went to see Ishaan Khatter’s Homebound). It is the best mass-market Bollywood film I’ve seen since Animal, and far more immersive. What struck me most was not the action, nor the plot, but Bollywood’s new formula: a full-scale fetishisation of Pakistan.

Kabir keeps claiming that Bollywood casts Pakistanis as villains. This misses the point. The villain is always the sexiest figure in any film. Bollywood has finally realised this. Raazi hinted at it. Animal stumbled on it with Bobby Deol’s star stealing turn. Dhurandhar perfects it.

For the first time, Hindu actors are not performing cartoon versions of Pakistan. They are cosplaying Pakistanis with forensic precision; the clothes, the diction, the swagger, the social codes. In earlier decades the attempt was clumsy. Now the calibration is exact. Pakistan, in these films, becomes the Wild West of the subcontinent: familiar enough to feel intimate, distant enough to feel dangerous. Continue reading Dhurandhar showcases Bollywood’s New Obsession: The Sexy Pakistani Villain

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