– Dr. M. Iqbal Siddiqui
Indian cinema, particularly Bollywood, holds immense power in shaping public perceptions, often reflecting and amplifying societal tensions. By crafting emotionally charged narratives, films can foster unity or deepen divisions, with portrayals of religious groups profoundly influencing attitudes and behaviours. When cinema vilifies minorities, such as depicting Muslims as villains or anti-nationals, it risks entrenching prejudice, eroding social cohesion, and inciting real-world conflict, as seen in the Nagpur riots following Chhaava’s release in 2024. The Udaipur Files: Kanhaiya Lal Tailor Murder, set for release on July 11, 2025, has ignited fierce controversy, spotlighting Bollywood’s troubling trend of portraying Muslims as terrorists, oppressors, or anti-nationals.
Directed by Bharat S. Shrinate and starring Vijay Raaz, the film dramatises the 2022 murder of Kanhaiya Lal Teli, a tailor in Udaipur, Rajasthan, killed by Mohammad Riyaz Attari and Ghaus Mohammad, who claimed retaliation for Lal’s alleged support for former BJP spokesperson Nupur Sharma’s controversial remarks about Prophet Muhammad. Its references to the sub-judice Gyanvapi Masjid dispute and alleged vilification of Muslims have sparked legal challenges, political polarisation, and fears of communal unrest. The Delhi High Court’s July 10, 2025, stay halting its release underscores the risks of such cinematic narratives.
Legal Battleground
The Udaipur Files faces significant legal hurdles. On July 10, 2025, the Delhi High Court, under Chief Justice Manmohan, stayed the film’s release, originally scheduled for July 11, until the Central Government decides on a revision plea by Jamiat Ulama-i-Hind, led by Maulana Arshad Madani, seeking to suspend its Central Board of Film Certification (CBFC) certification. Under Section 6 of the Cinematograph Act, 1952, the Centre has revisional powers to review certifications in the public interest. The court directed petitioners to approach the government within two days and ordered a decision within seven days, delaying the release until at least July 17, 2025.
Public interest litigations (PILs) by Jamiat Ulama-i-Hind and journalist Prashant Tondon argue that the film promotes hate speech, vilifies Muslims, and risks inciting violence. Senior Advocate Kapil Sibal, representing Jamiat Ulama-i-Hind, stated, “This film is not art but a deliberate attempt to malign an entire community, threatening India’s secular ethos.”
The petitioners allege violations of Articles 14 (equality), 15 (non-discrimination), and 21 (right to life and dignity), claiming the film frames Muslims as collectively responsible for the murder. Jamiat’s Maulana Arshad Madani warned, “By framing the murder as a community-driven act, the film incites hatred.”
A plea by Mohammed Javed, an accused in the case, filed in the Supreme Court, argued that the film’s portrayal of the accused as guilty could prejudice the ongoing National Investigation Agency (NIA) trial in Jaipur, violating his right to a fair trial. On July 9, 2025, a Supreme Court vacation bench (Justices Sudhanshu Dhulia and Joymalya Bagchi) declined an urgent listing, remarking, “Let it be released,” but directed Javed to the regular bench after July 14, leaving the Delhi High Court’s jurisdiction intact.
The CBFC, represented by Additional Solicitor General Chetan Sharma, defended its certification, noting 55 excisions totalling 11 minutes, removing inflammatory content like Nupur Sharma’s remark (her name changed to Nootan Sharma). The CBFC argued the film is “crime-specific, not community-specific.” However, petitioners, including Senior Advocate Menaka Guruswamy, countered that the film’s “hateful essence” persists, with the trailer allegedly depicting Muslim religious figures in provocative scenarios, such as “inappropriate homosexual relations with minors” and denigrating women. A court-ordered screening of the censored version on July 9 failed to alleviate concerns. References to the sub-judice Gyanvapi Masjid case, pending in Varanasi court and the Supreme Court, raise fears of contempt of court and communal escalation.
Jamiat Ulama-i-Hind has filed petitions in the Bombay, Gujarat, and Madras High Courts, seeking a ban and the trailer’s removal from digital platforms. The legal outcome depends on the Centre’s decision, with revocation or further delays likely due to the NIA trial and communal risks.
Political Polarisation
The Udaipur Files has become a political flashpoint. Hindu nationalist groups and some BJP-affiliated figures champion the film as a truthful depiction of Kanhaiya Lal’s murder. Posts on X, like those by @AdvAshutoshBJP, cite the Supreme Court’s remark as support, urging viewers to “uncover the truth.” Producer Amit Jani’s promotional events, despite his ties to the controversial “Hindu Action Force” and legal issues (vandalism and dowry harassment), align with this narrative. Jani’s claim of receiving death threats has galvanised supporters.
Conversely, secular and minority leaders have condemned the film as divisive. Former Rajasthan Chief Minister Ashok Gehlot warned, “This film risks reigniting the 2022 unrest, when justice for Kanhaiya Lal was delayed, and communal tensions soared.”
Samajwadi Party MLA Abu Asim Azmi stated, “The film’s provocative content could spark riots, as we saw in Udaipur.” Mohammad Nazimuddin, State President of Jamaat-e-Islami Hind Rajasthan, welcomed the Delhi High Court’s stay order and expressed strong condemnation of the film. He stated, “We firmly oppose and denounce the film for promoting hatred against Muslims and for misrepresenting the reputed Islamic educational institution, Darul Uloom Deoband. Despite the removal of certain scenes, the film’s objective to sow division in India remains unchanged. We therefore demand an outright ban on its release.”
A Threat to Social Harmony
The film’s roots in the 2022 murder, linked to communal unrest over Nupur Sharma’s remarks, amplify fears of reigniting Hindu-Muslim tensions. The trailer, released on June 26, 2025, on YouTube, visibly includes inflammatory dialogues and imagery, such as Gyanvapi references and derogatory portrayals of Muslim religious figures.
Maulana Arshad Madani warned, “By framing the murder as a community-driven act, the film incites hatred.” Mohammad Nazimuddin’s support for the court’s stay reflects concerns about communal harmony, emphasising the need for continued legal scrutiny to prevent unrest. X posts reflect this divide, with users like @TheRFTeam labelling the film “propaganda” and @HinduVoiceIndia calling it “truth-telling.” Boycott calls in Udaipur have led to arrests, signalling heightened tensions. The Teli family’s support contrasts with protests by Muslim organisations, raising fears of clashes.
The potential for public disorder is a central concern. The 2022 murder triggered nationwide protests, curfews, and internet shutdowns. Menaka Guruswamy told the Delhi High Court, “The trailer alone has sparked boycott calls and arrests in Udaipur. The full film could unleash chaos.”
Rajasthan sociologist Dr. Nandini Sharma warned, “Udaipur remains a tinderbox.” The Delhi High Court’s stay prioritises public safety. Local authorities in Udaipur have increased security, but the risk persists.
Demonising Muslims
The Udaipur Files is part of a broader trend in Indian cinema that depicts Muslims as anti-nationals, terrorists, or villains, exacerbating communal divides. The 2024 film Chhaava, a historical drama based on Shivaji Samant’s novel, portrays Mughal emperor Aurangzeb as a cruel, anti-Hindu tyrant, contrasting him with the noble Maratha king Sambhaji Maharaj. Critics argue it selectively highlights Aurangzeb’s temple destructions while ignoring his contributions to Hindu institutions, fuelling Islamophobia and inciting the Nagpur riots in March 2025. Other films reinforcing this trend include:
- The Kashmir Files (2022): Accused of portraying Muslims as violent perpetrators in the Kashmiri Pandit exodus, it sparked protests for its one-sided narrative. PUCL labelled it “propaganda that vilified Muslims.”
- The Kerala Story (2023): Alleging forced conversions of Hindu women by Muslim extremists, it faced bans for its divisive “Love Jihad” narrative, debunked as exaggerated but fuelling anti-Muslim sentiment.
- 72 Hoorain (2023): Depicting Muslims as brainwashed terrorists, it was criticised for dehumanising stereotypes, reducing the community to caricatures of violence.
- Samrat Prithviraj (2022): This film casts Muslim rulers as antagonistic invaders, promoting a Hindu nationalist agenda with historical inaccuracies.
- Padmaavat (2018): Its portrayal of Alauddin Khilji as a barbaric villain was criticised by scholars like Irfan Habib for perpetuating stereotypes of Muslims as invaders.
- Mission Majnu (2023): Portraying Muslims as threats to Indian security, it was accused of lacking nuance and fuelling distrust.
- Sooryavanshi (2021): Depicting Muslim as terrorists plotting against India, it reinforced harmful tropes, contributing to a culture of suspicion.
- Gadar: Ek Prem Katha (2001): Set during Partition, its portrayal of Muslims as antagonists was described as communally bigoted, shaping divisive narratives.
A 2023 CSDS study found that 62% of urban Indians exposed to such films reported increased distrust of Muslims, correlating with rising hate crimes. PUCL’s 2024 report noted that cinematic stereotyping has “normalised anti-Muslim prejudice.” Exceptions like Mulk (2018), Khakee (2004), and Black Friday (2004) offer balanced portrayals, but remain outliers.
Prioritising Harmony
The Udaipur Files risks deepening India’s communal fault lines. Its release could reignite tensions, prejudice the NIA trial, and violate constitutional principles. The Delhi High Court’s stay and pending Central Government review offer a chance to reassess its impact. What is necessary is:
Halt the Release: Revoke CBFC certification under Section 6, prioritising public order and judicial integrity.
Strengthen CBFC Oversight: Adopt stricter guidelines to prevent films targeting communities or sensationalising sub-judice matters.
Promote Inclusive Narratives: Encourage filmmakers to depict India’s diversity without stereotypes.
Promote Dialogue: Communities and leaders must reject provocative rhetoric and promote dialogue.
As a cinematographer, Amit Jani has a vital responsibility to uphold and celebrate India’s rich social fabric and its enduring tradition of love and unity through his work. As Faizan Mustafa stated, “Cinema should heal, not wound, a nation’s soul.” The Udaipur Files must not become another chapter in India’s communal strife.
