Rocky, born to a hindu mother, has no external signs of being a hindu, but as a boy wears a 'taweez', and is later addressed as 'sultan' and 'bhai', all of which are 'peaceful' style. The head of the hindu family running the hyper exploitative gold mine enslaving thousands of poor villagers, is hindu, but is bedridden and weak, and could not be glorified in any manner. The oppressed villagers enslaved in the gold mine, are all dhoti wearing people, never a skull-cap wearing 'peaceful', and never once has a 'peaceful' gold-digger shown in a vulnerable/weak position. Rocky never once shows his hindu identity. In the beginning of the film the never-ending done-to-death-cliche voice-over tutors us that as he needed a brand name, he changed his original hindu name to 'Rocky'. So convenient! One wonders why 'Rocky bhai', 'Salam Rocky bhai', both of which are 'peaceful' style lingo. The worst is when the festival of hindu kali godess, worshipped by the exploitative hindu gangster family, is shown to indulge in human sacrifice, and during the festival Rocky comes from under the water to slay the hindu son of the late Godfather.
No one talks about Islamic jihad in India, and the slow never-ending genocide of hindus by the jihadis, and instead Bolly makes films showing hindus as oppressive and exploitative, obviously trying to counter the real-life filthiness of the jihadi religion atleast in films by showing hindus in bad light, and also to create a narrative that hindus are like their representation in the jihadi-funded films.
KGF also does the same, as has been the lifelong project of Salim & Javed chichas, junky Nasirudeen, and the pigmy khans.
KGF is a third-rate film, with zero artistic value, with a non-stop supply of done-to-death cliches, and its success signals the death of art in cinema, and the dead-and buried aesthetic sense of the audience,their hearts and minds destroyed by item numbers,innuendo and glorified violence and gory revenge-tales. The protagonist's interview revealed his sad lack of depth about art and politics. The films has made tons of money, but it is just sad, really heart-breakingly sad for cinema. One wonders how long we'll have to tolerate cheap copies of 500-year-old third-rate film-cliches, until real individuality breaks through, and minimalism and simplicity returns to empower us.
No one talks about Islamic jihad in India, and the slow never-ending genocide of hindus by the jihadis, and instead Bolly makes films showing hindus as oppressive and exploitative, obviously trying to counter the real-life filthiness of the jihadi religion atleast in films by showing hindus in bad light, and also to create a narrative that hindus are like their representation in the jihadi-funded films.
KGF also does the same, as has been the lifelong project of Salim & Javed chichas, junky Nasirudeen, and the pigmy khans.
KGF is a third-rate film, with zero artistic value, with a non-stop supply of done-to-death cliches, and its success signals the death of art in cinema, and the dead-and buried aesthetic sense of the audience,their hearts and minds destroyed by item numbers,innuendo and glorified violence and gory revenge-tales. The protagonist's interview revealed his sad lack of depth about art and politics. The films has made tons of money, but it is just sad, really heart-breakingly sad for cinema. One wonders how long we'll have to tolerate cheap copies of 500-year-old third-rate film-cliches, until real individuality breaks through, and minimalism and simplicity returns to empower us.
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