In an era when cinema audiences seem to gravitate towards comfort and conformity, Mahesh Bhatt, a stalwart of the Indian film industry known for his unflinching candor, has taken a stand that aligns with popular sentiment towards the recent powerhouse of a film, ‘Animal’ (2023), starring his son-in-law Ranbir Kapoor.
Mahesh Bhatt, who has previously been critical of Kapoor’s performances in critically acclaimed movies like ‘Rockstar’ (2011) and ‘Barfi’ (2012), expressed unabashed appreciation for ‘Animal’, a film directed by Sandeep Reddy Vanga. Bhatt’s endorsement came as ‘Animal’, co-starring Anil Kapoor, Bobby Deol, and Rashmika Mandanna, not only rocketed Ranbir Kapoor to new commercial heights but also became one of the blockbuster phenomena of the year 2023.
The film’s storyline and presentation sparked significant attention from the get-go, inviting the audience into a narrative that pushes the boundaries of mainstream cinema. ‘Animal’ gratified viewers with an experience captivating enough to quash the trending norms of fleeting attention spans, often restricted nowadays to a mere 30-second social media vignette.
Despite the film’s commercial success, ‘Animal’ has faced its share of controversies. Critiques accusing the film of promoting violence and misogyny have fueled heated debates and widespread online discourse. Yet, Bhatt defends the film’s right to diverge from mainstream expectations and provoke thought. Bhatt makes a compelling argument: “No significant leap in the performing arts can happen without disturbing the set beliefs of the system. Animal doesn’t play by the rule-book of the so-called mainstream, popular cinema; it has the guts to stand alone and walk on its path. That is what artistic spirit is about.”
While acknowledging that any filmmaker stepping into the public arena must be prepared to be both exalted and vilified, Bhatt boldly claims that the realm of cinematic artistry should remain the domain of the creator, not the critic.
Further validating the multifaceted reception of ‘Animal’, Bhatt recounts his experience of watching the movie alongside two female writers who, despite the prevailing criticism, perceived the narrative within the context crafted by its creators, valuing its dramatic storytelling over perceived ideological infractions.
Bhatt argues for the sanctity of artistic freedom in a society that sometimes exhibits a paradoxical stance towards expression. He takes note of how some champions of absolute freedom of thought find it tough to reconcile with content that stratifies from their personal tastes or political viewpoints. “It’s strange that those, who advocate absolute freedom of thought, find it difficult to take a film because it doesn’t align with their taste or political ideology,” Bhatt stated.
In his call for a balanced perspective, the filmmaker advocates for the sovereignty of individual vision, insisting on the necessity to safeguard the right of creators to explore and interpret the world in their unique manner. He underscores this by reminding audiences that ‘Animal’ has successfully navigated through the scrutiny of the Central Board of Film Certification (CBFC), an institution tasked with adjudicating the sensitivity of content for the diverse Indian populace.
Mahesh Bhatt’s reflections on ‘Animal’ present more than just a defense of a family member’s cinematic venture. They provide a clear-eyed perspective on the significance of challenging the cinematic status quo, and the essential nature of creative defiance in fostering artistic evolution. As ‘Animal’ continues to roar in theaters, Bhatt posits that the most substantial works of art are those that dare to disrupt and thus propel the industry into ever-new territories of narrative expression.
