There is a domination of a single narrative over our media, cinema and academia and it refuses to acknowledge the existence of any other narrative than theirs. The Marxist stranglehold on the Indian institutions, that are purported to be India’s ‘soft powers’, is absolute, and it needs to be tackled, so that the foundation of a resurgent India isn’t marred by the muck the Marxist influenced intelligentsia aims to leave behind.
There are many names for this grand conspiracy, that wishes to bring India back to the state where the Britishers had left us as: a broken, fragmented union of warring states, each with their own ideology. But for the convenience of the readers, let us go with the name ‘Breaking India’, as named so by eminent thinker and author Rajiv Malhotra.
So how Marxism is connected with the ‘Breaking India’ conspiracy?
Though proclaiming their aim as fighting against the dominance of the ‘fascist forces’ and the establishment of a ‘just society’, the Marxist intelligentsia works on the very principles they claim to fight against. They assert on the principle of ‘Navnirman’, i.e. a creation of an entirely new nation, disassociating itself from all kinds of things that are connected to the past, irrespective of their importance or the possible benefits that future generations can receive. Their motto is simple: ‘Why live in the past?’ Sounds good, right?
NO, a hundred times NO!
What the Marxist influenced intelligentsia actually practices is the Goebbels principle of ‘making a lie so big, that people start perceiving it as the truth.’ Yes dear friends, they’re following the very principles they claim to fight against in order to sustain their supremacy in the Indian spectrum. Fascism, dictatorship, muck raking, defamation, shoot and scoot politics, barbarism, you name it and they’ve done it, so much that it’s difficult to distinguish on whose horrors were worse: the British Empire or this cabal of Indian liberals? You don’t believe me, and then get ready for a roller coaster ride that will compel you to look at the other side of the coin, and will force you to think: WHY?
To start with, let’s talk about Indian cinema, primarily, the Hindustani segment of Indian cinema, i.e. Bollywood.
Tell me some of the most iconic movies that this segment of Indian cinema has ever produced. Do Bigha Zamin, Awara, Do Aankhein Baarah Haath, Pyaasa, Mughal e Azam, Garam Hawa, Deewaar, Maachis, Hazaron Khwaishein Aisi, Rang De Basanti right? While you’re not wrong as well, can you connect such movies with a single word? That’s Marxism. Much as you wouldn’t believe this, it is Marxism that has dominated such movies, be it the underlying theme, the dialogues, the premise, or even the people behind these movies. Following are some of the themes that have dominated such movies, and have significantly influenced the Indian cinema for years to come:-
–> Secularism must be practiced at all costs [From ‘Dhool ka Phool’ to ‘PK’, nothing has changed ]
–> Utopian ideals should be the goal of every human, even if it comes at the cost of the integrity and unity of the nation
–> For every political mishap, the conniving and lecherous Sanatanis are always responsible [for e.g. Zakhm, Maachis, Parzania. Even the relief that the politicians feel in knowing the identity of the assassin of Mahatma Gandhi ]
–> Muslims and Christians can never be anything other than philosophical professors, sympathetic elders and patriotic people, always victimized by the supremacist Hindus [Be it Firaaq, Parzania, even the Ajay Devgn starrer Zakhm, Chak De India, the story has always been the same ]
–> Terrorists and communists are mostly rebels with a cause. They can rarely be sadists [Lamhaa, Chakravyuh, or Raanjhanaa, the predictability has remained consistent]
Though they refrain from saying it openly, the dominant narrative has its secret fantasy of portraying the honorable members of the armed forces as sadist dictators, hell bent on bringing the concept of Hindu Rashtra [Do watch ‘Shaurya’ and its legendary climax for further reference]
In any riot, it is only the Muslim or the Christian that suffers, as if the Sanatanis deserve to die [It is a shame that we have hundreds of movies on Kashmiri terrorists, but only one movie on the atrocities that Kashmiri Pandits suffered. Even the angst that Amit Sadh’s character in ‘Kai Po Che’ suffered was carefully crafted and twisted to show the Sanatanis as communal demons] Even the independent films, often sidelined as ‘parallel / art cinema’, was no better, often deriding Sanatan customs and propagating the principles of ‘Divide and Rule’, pitting castes and classes against one each other. Anyone who is not a Muslim / Christian/atheist [Even Parsis have been ridiculed to a huge extent] is at the receiving end of such narratives, reduced to portraying either dreaded villains or buffoons who deserve to be laughed at.
Have there been no good films on different viewpoints. The Marxist stranglehold has been such, that no director or actor wants to take the risk of making a movie on an entirely different viewpoint.
If this is how the mainstream Indian cinema is, what would be the case of the regional cinema? Well, on a serious note, regional cinema is a mixed bag. While Tamil and Telugu cinema have largely remained unaffected, even creating masterpieces like ‘Baahubali’ franchise, ‘Enthiran’, the Malayalam cinema has been bitten by the same bug that has infected Bollywood. ‘Sexy Durga’ is only the tip of the iceberg, Malayali cinema as of now furthers the Marxist agenda of ‘Breaking India’, creating some extremely bizarre plot angles such as India trying to make a secret pact with ISIS, as portrayed in the Malayali film ‘Take Off’, much before the nurses were rescued by a trigger happy, swash buckling Salman bhai in ‘Tiger Zinda Hai’.
To a large extent, most of the Indian movie goers have been influenced largely by such movies, that were the talk of the town in the 80s, the 90s and the early 2000s, and have been brainwashed and influenced to such an extent, that you can notice the following traits in today’s Indian youth generally:-
–> They’re ashamed of their own roots, they consider religion as an obstacle to their progress [except for few hallowed ones]
–> They love escapism, even if it erodes their common sense
–> They consider any attempt to revive the native culture and the spirit of nationalism as an attempt to recreate their fictional nightmare of a ‘Hindu Rashtra’ [wonder why no mega budget movies are ever made on people like Swami Vivekananda, Chandra Shekhar Azad, Veer Savarkar etc?]
–> They treat the fallacious ideals of minority appeasement and male bashing feminism [Feminazism in popular lingo] as gospel truth
–> They consider matters like morality, creativity, merit, dignity of jobs etc. as trivial and mock anyone who asserts a revival of such ideals.
–> They profess for free trade, and yet are closet socialists, owing to their craving for cheap prices and maximum benefits. Who wouldn’t want a Starbucks Coffee without having to shell out many bucks from their pocket?
If you think that this is all Marxism can influence, that’s where it actually starts. Cinema isn’t the only thing that has been affected by the malaise of Marxism. The media, once hailed as the ‘Fourth Pillar of Indian democracy’, is equally suffering from the same. Ever since Narendra Modi stepped up as the 15th Prime Minister of India, the entire mainstream media ganged up against him and his ideology of integrated nationalism, and continuously pestered him on the most trivial issues.
From the carefully crafted hoax of intolerance, that befooled the masses like none other, to giving casteist color to the suicide of Rohith Vemula, to giving support to the seditionist students screaming ‘Bharat Tere Tukde Honge Inshallah’ ‘Afzal Guru Hum Sharminda Hain, Tere Qaatil Zinda Hain’, to mocking the election of Yogi Adityanath as the Chief Minister of Uttar Pradesh only on the basis of his clothes, or even supporting the fake cases of Zaira Wasim and Jasleen Kaur being molested, the Indian media is slowly losing the trust they had once created among the masses with their Gen-X stylish anchors, slick reporting, and explosive content. In fact, on a lighter note, here’s a 7 step guide to being a famous media celebrity in India:-
–> Demonize the color Saffron and anyone wearing or supporting it
–> Sympathize with every single terrorist known to the nation, declare the likes of Burhan Wani as ‘sons of poor headmasters’
–> Return awards in protest against imaginary Hindu extremism, while conveniently duct taping themselves on the atrocities from the other side, and declare any action against the opposition, however deserving, as ‘political vendetta’
–> Make videos criticizing Modi and Yogi for their so called ‘crimes’, even if the comic timing is cringeworthy to say the least
–> Link every random incident in this country to Modi and Yogi; even if it’s not happening in a BJP ruled state [Remember the lynching of ‘Akhlaq’ and Junaid Khan, and the howling that followed?]
–> Mock every single custom of India that is even remotely Sanatani.
–> Brand RSS as India’s equivalent of ISIS, and conveniently ignore the arbitrary fatwas imposed by self styled Islamic clerics from Deoband.
While examples like Kanhaiyya Kumar, Shehla Rashid, Prakash Raj, Jignesh Mevani etc. have time and again tried to influence the audiences into kowtowing their ideals, wannabe intellectuals like Shruti Seth Aslam, Rana Ayyub, Vir Das, Shobhaa De, as the list goes on, have only contributed in denting India’s image, both internally and abroad. Such folks feel a macabre kind of sadistic pleasure in mocking at India and her culture, but get triggered on the slightest opposition to their trade.
Every dissenter is mocked and labeled as ‘trolls’ , and sometimes, even heckled, like Sonu Nigam was for his dissent against the excessive blaring of loudspeakers, or the Phogat sisters for their opposition against the poisonous tweets of Gurmehar Kaur, or even the legendary batsman Virender Sehwag, for his continuous support to the ideals of nationalism. People like Akshay Kumar, Irrfan Khan, Randeep Hooda, and even Ajay Devgn have been branded as ‘Modi’s agents’, just because they’re committed to being parts of projects that benefit the nation, whether in films or in reality. However, hilarious you find this, there is actually an entire show dedicated to satisfy their ego, which is threatened by the ‘Troll Army’ of India, titled ‘Troll Police’.
However, the institution that is worst affected by Marxism, is the academia, or the academic institutions, that tutor the future generations of this country. With the exception of the IITs and the IIMs, most of the universities in India are directly or indirectly under the control of this one ideology. Ever wondered why despite the popular opinion, revolutionaries like Bhagat Singh, Surjya Sen, Chandra Shekhar Azad are still branded as ‘terrorists’ in our history books, while tyrants like Ghiyas-ud-din Balban, Alauddin Khilji, Aurangzeb etc. have been glorified ad nauseam?
I’m quite confused as to how people like Romila Thapar, S. Irfan Habib, Ramchandra Guha, Bipan Chandra are lauded as historians, while people like Jadunath Sarkar, Romesh Chandra Majumdar etc. despite their magnanimous knowledge of history and their impeccable content, have been reduced to oblivion. Nobody needs to know what the status of the communist hotspots is in Indian academia, be it JNU, or FTII, or even the Jadavpur University. While everyone knows that the maxim of ‘freedom of speech and expression, the left liberals of the Indian intelligentsia, influenced by Marxism, think otherwise.
Not the one to stay silent on issues like the suicide of Rohith Vemula, or the vandalism surrounding the release of ‘Padmaavat’ , the same guys, who call for painting the whole academia red [with Marxism of course] freeze on the mere mention of Vivek Agnihotri and his film ‘ Buddha in a Traffic Jam’. Though not an entirely impressive piece, ‘Buddha in a Traffic Jam’ was a revolutionary movie, that actually threw some light on the concept of ‘Urban Naxalism’, i.e. Naxalism that operates from urban institutions, precisely the point I’m discussing upon.
Be it the passive support to the dreaded Naxalists, or the refusal to accept any other ideology than socialism, the movie hit almost every right note, in terms of alternative narrative, though the execution could’ve been a bit more crisper. However, the way Vivek Agnihotri was heckled and assaulted for this film by the very harbingers and flag bearers of liberalism and ‘freedom of expression was nothing less ironical. The very institutions that were bleating ‘political vendetta’ and ‘freedom ‘showed its true colors, refusing to allow the screening of ‘Buddha in a Traffic Jam’ in their campuses, and even resorting to character assassinations of the crew involved, as and when needed.
Also, the most ironical aspect of the dominant narrative in Indian academia, that though they call for ‘revolutionary overhaul of the system’, they themselves refuse to practice it. It is almost a set pattern that can be seen in such institutions, and those that practice it:-
–> Refusal to compulsory attendance
–> Resorting to crimes like rape and extortion
–> Encroachment of hostels even after they’ve graduated, as in JNU and FTII
–> Continuously lying on every forum available