Are "Demon Heroes" Really a New Trend?
Dhulia's "Demon Heroes": A Regression to the Mean? Tigmanshu Dhulia, the filmmaker behind *Haasil* and *Paan Singh Tomar*, recently voiced concerns about the glorification of violence and "demon-like" heroes in current Indian action cinema. Speaking at the Koshala Literature Festival in Lucknow, he cited films like *KGF* and *Kantara* as examples of this trend, suggesting societal anger might be fueling their box-office success. Dhulia even admitted to liking *Animal* overall, despite its problematic elements. But is this just a case of an established director lamenting the "kids these days," or is there a deeper shift happening in audience preferences? Dhulia's critique centers around the visual shift towards hyper-masculine, almost monstrous, protagonists. He describes these characters as "rakshas" (demons) with long hair and beards, a far cry from the more relatable, morally ambiguous anti-heroes of his own films. He attributes the trend to Baahubali(2015). This observation raises a key question: Are audiences genuinely drawn to these exaggerated figures, or is this a cyclical trend, a pendulum swing away from more nuanced characters? It's a valid question. After all, film is a business, and studios are generally risk-averse. They follow what works. The claim that societal anger fuels the popularity of violent films is an interesting hypothesis, but difficult to quantify directly. How do you measure societal anger, let alone correlate it with box office numbers? You can't. However, one could analyze social media sentiment around these films. A quick scan of Twitter (now X) and Reddit reveals a complex mix of reactions, ranging from enthusiastic praise to outright condemnation. It would be interesting to see someone do a deeper dive sentiment analysis of those platforms. Maybe I'll do it myself. Dhulia's own filmography offers a valuable point of comparison. He acknowledges that his films often feature alpha male characters, but emphasizes that they operate within a moral framework. *Haasil*, for instance, portrays student politics with violence, but also explores the consequences of those actions. *Paan Singh Tomar* is a biopic about a soldier turned rebel, driven by injustice. These characters are flawed, but ultimately human. This raises a crucial point: Are audiences tiring of morally ambiguous characters and craving simplistic narratives with clear-cut heroes, even if those heroes are, as Dhulia puts it, "demon-like?" Or are these films simply offering a cathartic release, a way for viewers to vicariously experience power and control in a world that often feels chaotic and unfair? The box office numbers certainly paint a compelling picture. *KGF* and *Kantara* were both massive successes, defying expectations and capturing the imagination of audiences across India. *Animal*, despite generating controversy, also performed exceptionally well. These films share a common thread: visually striking action sequences, larger-than-life protagonists, and narratives that, while often morally questionable, offer a sense of visceral satisfaction. The question is whether this trend is sustainable. Will audiences eventually tire of the excessive violence and simplistic characterizations, or is this the new normal for Indian action cinema? And are we really seeing a rise in "demon-like" heroes, or is this just a regression to the mean (with the mean being the typical hero archetype)? It's worth looking at the broader economic context. India's entertainment industry is booming, with streaming services and multiplexes vying for audience attention. In this competitive landscape, filmmakers are under pressure to deliver spectacle, to create experiences that can't be replicated at home. This pressure may be contributing to the trend towards more extreme and visually arresting content. The average moviegoer, after all, isn't analyzing the moral implications of a film while buying popcorn. They're looking for entertainment, for an escape from the everyday.Allahabad: Rebellion in the Water or Just a Good Story?
The Allahabad Factor: Rebellion or Just Good Storytelling? Dhulia attributes the rebellious nature of his characters to his Allahabad (Prayagraj, Uttar Pradesh) roots, claiming that people from that region "don't fear anybody." While this may be a somewhat romanticized notion, it speaks to a certain cultural identity, a sense of defiance and independence. It's a compelling narrative, but is it supported by the data? How many successful filmmakers and actors hail from Allahabad? A quick Google search reveals a surprisingly long list, including Amitabh Bachchan. Perhaps there is something in the water (figuratively speaking, of course). Is It All Just Noise? Dhulia's comments, while thought-provoking, might be a case of overstating a trend. Yes, there are successful films with violent content and morally ambiguous heroes. But there are also plenty of films that offer more nuanced and complex narratives. The Indian film industry is vast and diverse, catering to a wide range of tastes and preferences. To suggest that it is solely dominated by "demon-like" heroes is, frankly, an exaggeration.