John Abraham, a vegetarian PETA supporter, is going viral for all the wrong reasons. He is a long professed admirer of Priyanka Vadra and Rahul Gandhi. Soon, Rajdeep Sardesai platformed the actor to deliver a Singularly Secular message.
John Abraham has now taken it upon himself to lecture India on the role of cinema in a “politically charged” environment.
His target? Films like The Kashmir Files and Chhava are both rooted in documented historical truth. So, why is an INC supporter so desperate to deny the suppressed realities of Hindu oppression while trying to tow the line of Urduwood!
John Abraham’s Fear of Truth – Facts Hit the Screen, Urduwood Trembles
John Abraham’s words are the Urduwood motto. The Silver Screen Industry wants to lull Hindus into accepting their “BHAICHARA” narrative. Any movie concept that presentsˀ the naked truth makes the Urduwood producers feel a sense of crisis. Why? Because films like Uri: The Surgical Strike, The Kashmir Files, Chhava, The Kerala Story, and The Udaipur Files have one thing in common – they don’t invent villains; they name them. They don’t twist timelines to protect egos; they present recorded history and documented events.
These are a few notable nationalist movies that resonated with Bharat and surged at the boxoffice!
- Uri recreated the Indian Army’s 2016 surgical strike with on-ground details from military sources. Urduwood’s underworld connections and UPA pressure ensured no finger ever pointed to Pakistan. Uri unashamedly showed Pakistan’s hand in terrorism without hiding behind “unnamed neighbours.”
- The Kashmir Files chronicled the systematic ethnic cleansing of Kashmiri Pandits, drawing on survivor accounts, FIRs, and media reports from the time. The unwanted glamorization of “peacefuls” was unmasked by the movie. Moreover, the suppressed brutality of the Kashmiri Pandit genocide was displayed on screen for the world to see.
- Chhava resurrected Chhatrapati Sambhaji Maharaj’s heroism and the brutality of Aurangzeb. The nation wept at the theatres as the actors and directors recounted the heinous acts of Mughal revenge. All of the events displayed in Chhava are documented in Persian records and even European travelogues. The Maratha Pride refound their hero, and the “Kind and Gracious” Mughals narrative got buried!
- The Udaipur Files confronted the gruesome reality of Kanhaiya Lal’s beheading by Islamist extremists. The “peacefuls” attempted to silence the reality of their co-religionists. Thus, the newly released Udiapur Files show how ideology, not poverty or misunderstanding, fuels the “peaceful” act.
- The Kerala Story confesses the awful reality of Love Jihad and ISIS Brides, which is a social crisis in Kerala. The movie faced bans, threats, objections, and more. Yet, every day, a new suicide of innocent non-Muslims girls under the Mera Abdul mentality reveals the harsh truth of “peacefuls” assault quoted as Love Jihad but enacted as Womb Jihad!
These films strip away decades of cinematic whitewashing. No romanticized invaders. No “misunderstood rebels” in place of genocidal tyrants. And, no nameless mobs where the ideology is the main perpetrator.
Urduwood’s Selective Sensitivities
Urduwood’s discomfort is not about “avoiding communal tension”. Instead, it’s about losing monopoly over the narrative. For years, the industry has survived on half-truths, portraying Islamic invaders as lovers, “peacefuls” as the perennial good guy, and Hindus as villains.
Now, nationalist cinema is pulling the curtain back – and they’re terrified that the audience might never buy the old lies again.
For John Abraham, however, such films “sway public opinion.” One wonders if John Abraham wants the truth to be muzzled because it makes certain communities uncomfortable? Or is the real fear that India’s Hindu majority is waking from its self-imposed secular slumber?
This interview with Rajdeep Sardesai is not just about John Abraham’s attempt to regain relevance. It’s about an entrenched Urduwood ecosystem that treats Hindu pain as optional content.
For Bollywood, the oppression of Hindus is something that must be diluted, distorted, or buried to maintain “communal harmony.” Films whitewashing Islamic invasions or mocking Hindu beliefs get a free pass. However, the moment a story depicts historical atrocities against Hindus with factual accuracy, the industry’s “secular conscience” springs into action.
This is why, for decades, school history books barely mentioned Sambhaji Maharaj’s sacrifice. He was a hero buried to safeguard the narrative of “peaceful” benevolence. This is why college history books never mention the temple destruction campaigns of Tipu Sultan and other Islamists. Moreover, this is why the genocide of Kashmiri Pandits is a footnote in academia, until cinema dared to confront it.
Dear John Abraham – The Truth Is Not Communal, Denial Is
Calling The Kashmir Files or Chhava “political” ignores the fact that truth is inherently disruptive. This is especially true for those invested in keeping a false narrative alive. What John Abraham and his ideological kin really fear is that today’s Bharat is owning its itihaas.
The new India is ready to rediscover its cultural pride, reclaim heroes erased by colonial and post-colonial historians, and question decades of curated secularism.
In this awakening, nationalist cinema is thriving because it resonates with lived experiences and documented history. Meanwhile, hollow, formula-driven “secular” films that peddle the same tired tropes are being rejected at the box office. Not because audiences have turned communal, but because they’ve turned aware.
The Sickular Mask Slips
By framing truthful storytelling as a “danger” to social harmony, John Abraham exposes the hypocrisy of Bollywood’s selective empathy. There’s no objection to films that portray Hindus as oppressive majorities or glorify invaders under the guise of “historical nuance.” But show the blood, the tears, and the defiance of Hindu victims and heroes, and suddenly it’s “politics.”
Perhaps John Abraham should remember – acknowledging truth is not divisive; suppressing it is.
And if the truth makes some people uncomfortable, maybe it’s time they asked themselves why.
