Bollywood’s obsession with rewriting history follows a familiar pattern—demonizing Muslim rulers while glorifying their adversaries beyond historical accuracy. The latest addition, Chaava, continues this trend, depicting Aurangzeb as a ruthless tyrant and Sambhaji Maharaj as an infallible hero. But history, no matter how Bollywood twists it, has its own truths that refuse to be buried.
Us vs. Them: The Politics of Historical Distortion
Bollywood’s historical revisionism isn’t just creative liberty—it reflects the deepening “Us vs. Them” narrative under Hindutva politics. The Maratha-Mughal conflict, historically a territorial and political struggle, is rebranded as a religious war between “foreign Muslim oppressors” and “native Hindu warriors.”
This binary conveniently ignores the complexities of history—Mughal governance included Hindu generals, and Marathas allied with Muslim rulers when politically beneficial. The goal is clear: reinforce a Hindu nationalist identity while casting Muslims as perpetual adversaries of the Indian state.
A Politicized Retelling of the Maratha-Mughal Conflict
Chaava, based on the Marathi novel Chhava by Shivaji Sawant, centers on Chhatrapati Sambhaji Maharaj, played by Vicky Kaushal, with Rashmika Mandanna as his wife and Akshaye Khanna as Aurangzeb. The film falls into Bollywood’s growing genre of Hindutva historical fiction, where historical figures are reimagined as nationalist warriors in an anachronistic freedom struggle.
The movie distorts Sambhaji’s capture by the Mughals, portraying Aurangzeb as a sadistic emperor humiliating his prisoner. In reality, historical records indicate that Aurangzeb initially sought to negotiate, offering Sambhaji a position in the Mughal administration if he pledged loyalty—a common Mughal strategy. Even Aurangzeb’s top commanders included prominent Hindu rulers.
The Forgotten Role of Hindus in the Mughal Administration
Bollywood’s narrative of Mughals as foreign oppressors ignores the reality of their inclusive administration:
- Raja Jai Singh I – Led key Mughal campaigns, including the siege against Shivaji in 1665.
- Raja Jaswant Singh – A high-ranking Mughal noble.
- Raja Bhagwan Das, Raja Raghunath Das, and Raja Ram Singh – Held crucial military roles.
This historical complexity dismantles the simplistic Hindu-Muslim conflict Bollywood promotes. The Mughal Empire was a political entity, not an ideological one.
Sambhaji: Bollywood’s Myth vs. Historical Reality
Chaava presents Sambhaji as a noble warrior, but historical records paint a more complicated picture. He was not Shivaji’s chosen heir—his stepmother Soyarabai pushed for her son Rajaram instead.
Maratha sources, including the Sabhasad and Chitnis Bakhars, document Sambhaji’s controversial behaviour, including accusations of misconduct and debauchery. He was even punished by Shivaji for misbehaviour, such as molesting women during raids—actions contrary to the disciplined Maratha forces.
Despite being portrayed as a lifelong opponent of the Mughals, Sambhaji once defected to Aurangzeb’s side, forming close ties with Mughal generals and even Aurangzeb’s daughter, Zeenat-un-Nissa. He persuaded Shivaji to surrender 23 forts under the Treaty of Purandar. These nuances are erased in favour of a black-and-white hero-villain narrative.
Fatawa Alamgiri: A Convenient Target for Selective Outrage
Hindutva historians often cite Fatawa Alamgiri as proof of Aurangzeb’s so-called Islamic fanaticism. In reality, it was a comprehensive legal, administrative, and economic code governing the Mughal Empire, much like legal frameworks in other empires.
Ironically, while Bollywood demonizes Aurangzeb for enforcing Islamic law, the same Fatawa Alamgiri is revered by the Afghan Taliban, who incorporated it into their madaris curriculum. The Afghan interim government’s silence on Bollywood’s vilification of Aurangzeb—despite their ideological reverence for him—raises questions about their silence on India’s growing anti-Muslim rhetoric.
Historical Distortion as a Political Tool
The “Us vs. Them” narrative in Bollywood historical films serves a clear political function. Under the BJP-led government, Hindu nationalism increasingly defines political, social, and historical discourse, portraying Hindus as the rightful heirs of India while Muslims are framed as outsiders.
This historical distortion aligns with contemporary policies that marginalize Muslims:
- The Citizenship Amendment Act (CAA) and the proposed National Register of Citizens (NRC) disproportionately target Muslims, reinforcing the idea that Hindus belong, but Muslims must prove their loyalty.
- Kashmir faces stricter laws and military crackdowns, reinforcing the “separatist” label.
- Cow vigilantism and mob lynchings primarily target Muslims accused of consuming or transporting beef.
- Hindu extremist groups openly advocate for a Hindu Rashtra, where minorities must conform or leave.
- The legal system applies different standards, with Hindutva vigilantes rarely prosecuted for hate crimes.
- Bulldozer demolitions disproportionately target Muslim homes and businesses in BJP-ruled states.
- Indian media fuels communal divisions by amplifying crimes involving Muslims while downplaying Hindu extremist violence.
- Bollywood propaganda films (The Kerala Story, The Kashmir Files, Chaava) cast Muslims as villains and Hindus as eternal victims or heroes.
This manufactured divide fuels sectarian tensions, suppresses dissent, and shifts India toward an exclusionary, majoritarian state.
Also See: Bollywood and Islamophobia: ‘Tanhaji: The Unsung Warrior’
The Real Tragedy: Distorting the Past to Distract from the Present
An Indian actor recently warned against “misusing the glory of the past to hide the mistakes and failures of the present.” That’s exactly what Bollywood is doing—weaponizing history to serve political agendas instead of fostering unity.
Rather than addressing real crises—economic struggles, farmer protests, or rising religious tensions—Bollywood distorts the past to deepen societal divides. Chaava is not a historical retelling; it is a deliberate rewriting of history.
With each film like Chaava, Bollywood buries another piece of South Asia’s complex past under layers of nationalist propaganda. It is not preserving history—it is erasing it.
PAYF Insights are social media threads by various authors, reproduced here for wider consumption.
