In an era where cinema is not only a source of entertainment but also a means of shaping narratives, actor and now director Randeep Hooda has stirred a conversation around the nature of American films and their portrayal of history. Randeep Hooda, acclaimed for his nuanced performances in Bollywood, recently embraced the role of a director with the biopic ‘Swatrantya Veer Savarkar’, where he also essays the titular lead. Amidst a backdrop of controversy, the actor has been embroiled in defending his work from being labelled as propagandist material. Yet, it was during a recent candid conversation with interviewer Ranveer Allahbadia that Hooda turned the tables, scrutinizing American cinema for its portrayal of the nation’s heroes and pivotal historical events.
Highlighting the hypocritical stance of Hollywood, Hooda pointed specifically to the Oscar-winning film ‘Oppenheimer’, directed by the renowned filmmaker Christopher Nolan. ‘Oppenheimer’ delves into the life and legacy of J. Robert Oppenheimer, the physicist who played a critical role in the development of the atomic bomb. Hooda underscored the gravity of this chapter in history, which saw the catastrophic bombings of Hiroshima and Nagasaki, resulting in an appalling loss of civilian life. “America made Oppenheimer,” Hooda stated, “That man built the atomic bomb. It was such a painful incident… in Japan, on civilians in Hiroshima and Nagasaki, they detonated the bomb at night. America is the good guy. What did they do in Vietnam? Their movies are propaganda, their movies tell the entire world that ‘we are the best army, we are the good guys. Japanese, Germans are bad’ And history also has the same thing, because they have written history.”
This assertion from Hooda fuels an ongoing debate about the role of films in perpetuating nationalistic myths and curating historical events to serve a particular agenda. The actor further expounded on the American film industry’s inflated sense of self-representation in global events, humorously musing that “aliens always come to America” on screen, suggesting that U.S. films often exhibit a narrow, self-centered worldview.
Hooda did not shy away from addressing the politics intertwined with cinematic representations, both internationally and domestically. At the trailer launch of ‘Swatrantya Veer Savarkar’, he passionately defended the film as a counter-narrative to the decades-long propaganda against the titular Indian freedom fighter, Vinayak Damodar Savarkar. The actor insisted that his film provides a well-researched perspective on Savarkar, emphasizing the freedom fighter’s efforts to secure release from incarceration in order to contribute to India’s cultural and political landscape.
The actor drew parallels with American films, lamenting how national icons in India are too often looked down upon due to political motives. As opposed to Hollywood’s celebrations of figures like Oppenheimer and President Truman, Hooda perceives a trend in Indian cinema of belittling its own national heroes. He pointed out the need for balanced storytelling, which recognizes and honors the multifaceted narratives of influential personalities.
“There have been films on Mahatma Gandhi, Sardar Vallabhbhai Patel, Jawaharlal Nehru, and many others,” Hooda continued, “The US has made ‘Oppenheimer’ based on the father of the atomic bomb, J. Robert Oppenheimer. In our country, we are shooting down our own icons.” It is with this sentiment that Hooda seeks to reclaim the narrative for Indian figures who have significantly contributed to their country’s independence and development.
In a world where stories hold power and the lines between truth, fiction, and interpretation are often blurred, Randeep Hooda’s forthright commentary offers a mirror to the filmmaking industry, questioning the intent and the impact of cinema on public perception and historical consciousness. Through his work and with ‘Swatrantya Veer Savarkar’, Hooda beckons audiences and creators alike to engage in a mindful digestion of historical representation and the repercussions of the stories we choose to tell.
