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11 Glaring Errors In Bollywood Film – Tanhaji: The Unsung Warrior



The recent film ‘Tanhaji: The Unsung Warrior’ is based on the life of Tanhaji Malusare who used to be a close military aide of Shivaji Bhosale. The credit of bringing the story of a common soldier’s family goes to the filmmaker, Om Raut.

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The movie – ‘Tanhaji: The Unsung Warrior’ has had a splendid run and has been widely acclaimed. However, experts state that historical facts have been tampered using so-called cinematic freedom.

There are eleven scenes in the movie ‘Tanhaji’, which are historically incorrect, according to experts.

Hindu-Muslim War

Setumadhavrao Pagdi says that all the battles were political in the region and people were not really divided into Hindu and Muslims. And if that was the case then all Hindus should have gone towards Shivaji Maharaj and all Muslims, towards Mughals.

However, historically this did not happen. Udaybhan was a Rajput fighting on behalf of Aurangzeb and along with him, 500 Rajput soldiers lost their lives in that war. Contemporary historian Krishnaji Anant Sabhasad wrote, “500 Rajputs were killed.”

In the film, Udaybhan and his army are shown in Muslim clothes, to show that the battle was fought between Hindus and Muslims. This clearly is an attempt to polarize Hindus and Muslims.

In the medieval period, the peasants faced injustice and the exploitation from the erstwhile administration. Even though the central power at the village level was in the hands of the Nizam, Mughal and Adil Shah, the watandars (landlords) and the mirasdars (aristocratic landowner) handled the administration.

The film especially shows that the battle between Tanhaji and Udaybhan who are in saffron versus green (the religious colour of the Muslims) respectively. An attempt has been made to use the idea of ​​Rashtriya Swayamsevak Sangh in Tanhaji.

‘Marda’ Mavla

In this film, Tanhaji’s character constantly uses the idiom ‘Marda Mavla’, which means ‘a powerful soldier’. However, there is no historical evidence of these words.

History says that in those days the word ‘Mavla’ was used. Still, the word ‘man’ has been used in the film. This shows the mindset of gender discrimination. It discriminates between women, men and transgenders.

Modern science has proved that one’s gender has no effect on its quality or achievements. Feminists say that men are brave, powerful and intelligent just like women and transgenders.

In particular, the word ‘Mavla’ comes from the maternal tradition of Mavalai from the Indrayani valley. The great scholar DD Kosambi has mentioned this in his book ‘Myth and Reality’. Therefore, the word ‘Mavla’ was used to honour women. Adding the word ‘man’ with it is an insult to women and transgenders

Worshiping Jijamata

The film has shown a scene in which the Muslim commander enters the fort and prevents Jijamata from performing a puja. The commander asks them to clear the fort. During this time, Jijamata swears that she will not wear any footwear until the Marathas win Kondhana again. This scene has no mention in history.

From where did the ‘Om’ sign come?

Shivaji Maharaj’s flag was saffron-coloured but he worked for the welfare of all people. He was not involved in religious animosity. He did not demolish Mosques nor did he hate people of other religions.

There is no historical proof that says that there was an ‘Om’ symbol in the flag at the time of Shivaji Maharaj. Also, there is no historical proof that Tanhaji’s shield had a mark of ‘Om’ on it. But, it is shown in the film that there is a mark of ‘Om’ in the shield that Udayban breaks.

Shivaji Maharaj on God and Pooja

Shivaji Maharaj was a rationalist. He used to rely on karma. He never saw a fortune-teller to know the future. According to Krishnaji Anant Sabhasad, when Shivaji Maharaj’s son Rajaram was born on his stomach, he said that ‘this boy will make the rulers of Delhi fall face down.’

They built sea forts. They broke the Indus blockade by attacking Bednur by sea. Jijamata did not become ‘Sati’ but acted bravely. This shows that Jijamata and Shivaji Maharaj were rationalists. He was not orthodox and was not bound by the worship of God. He trusted his traditions but never accepted wrong practices.

He used to respect traditional folk deities like Tulja Bhavani, Mahadev, etc. But he had the maturity to understand the truth that hard work is needed to achieve his goal.

Tryambak Shejwalkar, who studied the life of Shivaji Maharaj, says, “Shivaji Maharaj was not a conservative but a progressive reformist. He was indeed a believer, but more importantly, he was intelligent and rational.

He was not obsessed with the worship of God in which people resort to practices to get something. When the fact is this, the film shows Jijamata and Shivaji Maharaj worshipping continuously and depicts incorrect history. ”

Where did the nose ring come from?

Even if we give some cinematic freedom, how can Tanhaji’s wife be wearing a nose ring? The medieval Maratha women never wore nose rings.

From the philosophical point of view of scholar Sharad Patil, one can say that this film emphasizes on Brahmanical principles.

Tanhaji’s Big Palace

A big palace belonging to Tanhaji is also shown in the film. Originally, Shivaji Maharaj created the state (Swarajya) by mobilizing soldiers from ordinary families. Tanhaji was also a commander who came from a humble background. He was not from any feudal lineage.

Tanhaji throws crutches on Shivaji Maharaj

Tanhaji Malusare had deep affection for Shivaji Maharaj and Swarajya. He also respected Jijamata. He was a patriot. However, this does not mean that he will insult Shivaji Maharaj by throwing crutches in front of him. There is no historical reference to this incident.

Malusare and Chisel

There is also no historical reference that when Tanhaji and Udaybhan are at the height of the war, Tanhaji lost his right hand. According to Krishnaji Anant Sabhasad, Tanhaji’s shield was definitely broken.

After a fierce battle, both die, after which Shelar Malusare fights bravely. However, this is not shown in the film. There is too much imagination in the film rather than reality. Filmmakers could also use cinematic freedom to shed some light on Shelar Mama Tanhaji’s uncle.

A myth has also been coined that Pisal was a traitor. It is shown in the film that Chandraji Pisal betrayed Shivaji Maharaj and helped the Mughals. This incident is not related to history and is imaginary. It defames the Pisal family

‘Ek Maratha Lakh Maratha’

‘Ek Maratha Lakh Maratha’ means a Maratha, equivalent to a million of Marathas, this slogan was first used in the rallies of the Maratha Revolution. In fact, this slogan was invented only few years ago.

However, the filmmaker and director used this slogan in Tanhaji’s dialogue of the 17th century. Therefore, linking a modern concept to history reduces the historical seriousness of this film.

Traitor Barber

People of all castes and religions contributed to the struggle for Chhatrapati Shivaji Maharaj and “Swarajya”. During the siege of Panhala, Shivaji Kashid took the form of Shivaji Maharaj in the enemy’s area, where he had to give his life for Swarajya. At that time, he embraced death with laughter.

When Shivaji Maharaj went to meet Afzal Khan, Syed Banda tried to attack him and Jivaji Mahale then cut the man’s hand mid-air.

People like Shivaji Kashid and Jivaji Mahale, who risked their lives for Shivaji Maharaj, were from the barber community. This is a fact. Yet in the film Tanhaji, a barber is shown betraying Shivaji Maharaj and helping Udaybhan. This character has nothing to do with history.

The characters of Shivaji Maharaj and Tanhaji in the film do not accurately represent the real historical personalities as they look very dull. Udayabhan has been better depicted. Shivaji Maharaj and Tanhaji were strict, agile and strong but at times they appear vulnerable in the film.

Overall, cinematic freedom has been carelessly used to depict Maratha history, in the film. This is actually degrading Tanhaji Malusare’s fight for the welfare of the people and using it for the agenda of nationalism.

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Via: BBC. Research By: Shrimant Kokate


Indo-Pak News

Pakistan Music Company Sues Indian Channel For Illegally Using Its Songs



Music composers from across the globe seek inspiration from each other and Indian and Pakistani artists are no exception.  Pakistani netizens have often criticized Indians of copyright theft, while Indians accused Pakistan of blindly aping Bollywood.

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According to reports in Express Tribune, an Indian YouTube channel had been posting songs by Pakistani artists on their YouTube channel without obtaining any legal rights from the original composers.

The report states that music by artists like Bayaan, Kashmir – The Band, 21 The Band, Naseer Afridi, and many others were featured on the YouTube channels ‘The Last Cigarette’ which has nearly  375, 000 subscribers.

After getting to know about out about the illegal YouTube channel, a Pakistani record label Rearts, that represents Bayaan, Kashmir, 21 The Band, Naseer Afridi, and Khamaaj sent out a legal notice, blaming the YouTube channel of copyright violation.

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Rearts shared the news on Twitter. “In the past few days, we were brought to the attention of a YouTube channel by the title of  ‘Last Cigarette’. This channel had roughly 375k subscribers with millions of views on nearly all of its posted videos,” the tweet read. “The music on this channel featured the content of five artists from our label which had not been obtained from the artists with prior consent.”

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The statement further added that the YouTube channel had also enabled monetization, which means that a significant amount of revenue had been generated from these videos alongside the fact that the views received were greater than the ones on the original video.

“We came to know about the violation of copyright through an algorithm we use to keep tabs if any of our music is being published illegally,” Butt shared. “We found out that material from five of our artists was being used without permission. The fact that the person would pick all the hard work of our artistes, without giving due credit was unjust. We reached out to him for obtaining the license, but he wouldn’t agree to it. So we  sent him a copyright strike – but sadly, to no avail.”

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“We did so to ensure that we could get in touch with the owner of the channel so we could meditate and figure out due compensation,” Butt further elaborated. “The channel agreed that they had not obtained the content with the permission of the artists or the label and also had monetization enabled on their account, yet they claimed that they were only doing this to ‘promote art’ and had no ulterior motives whatsoever.”

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Butt went on to add that once the label decided to send out a notice, there was a severe backlash. “The Last Cigarette has a very loyal fan following. Once they put up an apology, owning to the violation, the fans started freaking out,” he added. “Fans thought it was the bands who sent a legal notice to the channel so they then started bombarding them with hate.”

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Ahmad Butt, the managing director of the label told the Pakistan media house that the label reached out to  ‘The Last Cigarette’ to acquire the business legally and become a partner in India. Rearts has sent the final copyright violation strike recently.

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Can Turkish Movies Fill The Void Created By Bollywood Films in Pakistan?



After having enjoyed a wide range of Turkish dramas, Pakistani audiences have now been fascinated by Turkish cinema. Almost 45 movie theatres screened the first Turkish film Miracle in Cell no. 7 which was released under the banner of HKC entertainment.

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This is the second Turkish movie that is being released in Pakistan after the release of “Mohabbat Ek Ittifaq” in 2014. Another movie called ‘Bear Witness’ based on the Khilafat Movement of the 1920s (when Muslims of sub-continent helped the Turkish nation) will hit theatres in March this year.

But the one question that begs an answer is can Turkish movies or any other movies fill the vacuum created by Bollywood?

India and Pakistan have had a tumultuous relationship when it comes to movies. Indian movies were banned for the first time by General Ayub Khan in 1965. The woes exacerbated during the rule of Zia ul Haq who raised tariffs and imposed strict censorship to virtually halt growth of cinemas in Pakistan.

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The result was closing of almost 700 single-screen cinemas and Pakistani audiences were left with only daily soap operas to watch.

However, General Pervez Musharraf reversed the ban in 2006 and within a few years, 35 multiplexes shot across the country with 100 more being built. And just as Pakistani audiences were being treated to a lot of Indian films, Bollywood was once again banned after India retaliated against Pulwama terror attack.

In fact, a lot of Pakistani youth continue to watch Indian movies on DVDs or online or by getting pirated content. The love and influence of Bollywood moves is such that film distributor say that eventually, Imran Khan Government will have to lift the ban on Indian cinema.

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Generations of Pakistanis have grown up watching Bollywood movies which have been popular since the era of Dilip Kumar in the 1950s to the present era of Shah Rukh Khan, and despite numerous efforts to introduce movies from other countries, Bollywood still remains the primary choice of cinema-goers in Pakistan.

Among the top searched words in 2017 post the ban on Indian movies were Dangal, Raees and actor Rishi Kapoor while The Kapil Sharma show was the second most searched news item in Pakistan.

Pakistani film critic Usman Ghafoor agrees that Bollywood movies are loved by one and all in Pakistan. “The Pakistani film industry wasn’t there when the multiplexes began to mushroom. It was Bollywood and Hollywood that helped get the audience back in theatres,” he said.

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He added, “Bollywood is huge in Pakistan — even when the Indian films were banned in the theatres or they weren’t officially allowed air time on TV channels, the cable owners would air them secretly because the customers demanded it. For us, Bollywood is the staple diet.”

Whether Pakistan is able to fill the void of Indian cinemas by Turkish movies only time will tell but one thing is sure their love for Indian cinema will never cease.

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Food and Travel

Bollywood Cancels IIFA Awards As Covid-19 Cases Continues To Increase In India



IIFABollywood has postponed the IIFA awards due to the deadly coronavirus outbreak. Organisers said they had to postpone the IIFA awards ceremony which was to be held in Indore on March 27 due to mounting health crisis.

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Organisers said that the decision to call off IIFA awards was taken “with due regard to growing concerns” around the spread of COVID-19, while keeping the health and safety of fans and the general community. “A fresh date and plans for hosting IIFA in Madhya Pradesh will be announced at the earliest,” it added.

After using venues in several countries and other Indian cities, the 2019 IIFA returned to the Bollywood capital in Mumbai.  But the government has warned against holding mass gatherings because of the virus, which has infected 30 people in India so far. Many conferences, celebrations for Holi and public events have been cancelled in recent days.

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Meanwhile,  three more positive cases of novel coronavirus have been reported in India taking the total number of confirmed cases to 34, Union Health Ministry said according to the PTI.

Of the three, two are from Ladakh with travel history to Iran while one is from Tamil Nadu who had visited Oman, the ministry said, adding all the patients are stable. In the wake of more than 30 confirmed cases of coronavirus in India so far, the Union health ministry made 52 laboratories functional for testing samples while 57 labs are designated for helping in sample collection.

The ministry also said more than 150 people, who had come in contact with two US nationals who tested positive for coronavirus in Bhutan and had toured various placed in India, have been put under Integrated Disease Surveillance Programme.

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PM Modi reviewed the coronavirus situation in the country at a meeting with officials and directed them to identify locations for sufficient quarantine facilities, and make provisions for critical care in case the disease spreads further.

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