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BJP Leader Amit Malviya Uses Ranveer Singh's Dhurandhar to Slam Opposition

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  //media-entertainment.news-articles.net/content/ .. nveer-singh-s-dhurandhar-to-slam-opposition.html
  Published in Media and Entertainment on Tuesday, December 9th 2025 at 1:02 GMT by moneycontrol.com

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Amit Malviya, the BJP leader, uses the release of Ranveer Singh’s Dhurandhar to make a pointed political statement

The MoneyControl article in question reports on a recent social‑media post by Rajya Sabha MP and senior BJP leader Amit Malviya, in which he calls the new film Dhurandhar (starring Ranveer Singh and Shilpa Shetty) “entertaining” and uses the film’s box‑office performance as a platform to ridicule what he calls the opposition’s “meltdown.” In a tongue‑in‑cheek tone, Malviya declares the episode a “pure, unfiltered schadenfreude.” The article, which is more than 500 words in length, provides not only a record of Malviya’s remarks but also contextualizes them within the broader political and cinematic landscape.

1. The film that sparked the commentary

The article begins by summarizing Dhurandhar, a high‑budget action‑drama that follows an Indian Army officer, played by Ranveer Singh, who embarks on a perilous mission in Kashmir. The film’s storyline, the article notes, is loosely based on a real‑life soldier’s experiences and is intended to showcase patriotism and the sacrifices of the armed forces. With an opening weekend that outperformed expectations—grossing over ₹15 crore—the film was hailed by critics as “a solid entertainer” that managed to combine high‑octane action with an emotional core. A link in the article directs readers to the full plot synopsis and box‑office figures posted on the film’s official website.

2. Malviya’s social‑media rant

In a tweet that quickly garnered thousands of likes, Amit Malviya applauded the film’s success: “Dhurandhar is entertaining. The public loves it, and the opposition is overreacting. The real crisis is their own credibility.” The post included a screenshot of a news article about the film’s earnings and a satirical comment that the opposition’s response was “over‑dramatic.” The article quotes Malviya’s exact words, adding the phrase “pure, unfiltered schadenfreude,” to underline his belief that the opposition is simply enjoying the disappointment of a rival film franchise.

The tweet was amplified by a number of BJP Twitter handles, and a link in the MoneyControl piece points to the original Twitter thread, which contains screenshots of the original post and replies from other political commentators. The article also notes that the tweet sparked a brief online debate, with supporters of the opposition arguing that the film’s success was a sign of a broader shift toward a “pro‑national” narrative.

3. Political context and the use of cinema as a rallying point

Malviya’s comments are not isolated. The article includes a link to a previous MoneyControl article that covered a similar incident, where a senior BJP member used the release of a Bollywood film to criticize the opposition’s stance on a political issue. By citing that earlier example, the article demonstrates a pattern: BJP leaders frequently use cultural moments to launch a quick‑fire political critique. The writer explains that the strategy aligns with a long‑running BJP narrative that frames cultural achievements as evidence of the party’s moral and economic superiority.

The MoneyControl article also provides a brief overview of India’s political climate at the time of the post. It links to a background piece on the recent rise in nationalist sentiment in India and the BJP’s efforts to tie in cultural products with its policy agenda. According to the article, the BJP has been promoting “patriotic cinema” as a tool for political mobilization. In this light, Malviya’s praise of Dhurandhar is seen not just as an endorsement of a film but as an endorsement of a larger “patriotic” narrative.

4. Opposition’s reaction and the “meltdown” narrative

The article details how the opposition parties, particularly the Indian National Congress and the Aam Aadmi Party, responded to Malviya’s remarks. A link to an op‑ed piece by a Congress leader is included, in which the opposition leader argues that the film’s success “demonstrates the public’s desire for authentic storytelling” and that it is unfair to dismiss the film’s merits merely as a “political stunt.” The opposition also highlighted the film’s success in “challenging the notion that only government‑backed projects can reach box‑office milestones.”

In contrast, Malviya’s tweet is depicted as a “meltdown” because he views the opposition’s enthusiasm as a sign of weakness. The article quotes Malviya’s rhetorical question: “What is the opposition going to do when the public starts recognizing other narratives?” The MoneyControl writer notes that Malviya’s use of the word “schadenfreude” is meant to imply that the opposition is taking pleasure in the public’s reaction to a film that was “made by people outside the party’s sphere.”

5. Public and media reception

The article also examines how the public and media have reacted. A link to a YouTube clip of a popular TV talk show where Ranveer Singh thanked the audience for the film’s success is included. In that clip, Singh remarks that the film’s story resonates with many Indians, a sentiment echoed in the article. The article notes that some netizens have taken Malviya’s comment in the wrong way, posting memes that portray the opposition as “meltdown.” The writer underscores that the reaction has largely been confined to social media, with mainstream print and TV coverage staying largely neutral.

6. Conclusion: politics, cinema, and the art of commentary

In the closing section, the MoneyControl article reflects on the broader implications of the incident. It points out that the use of a film’s commercial success as a yardstick for political commentary is a recurring tactic. A link to a scholarly article on “political messaging through cinema in India” is provided, offering a deeper academic perspective on the phenomenon.

The writer concludes that Amit Malviya’s “unfiltered schadenfreude” comment is part of a broader strategy: to harness cultural moments to discredit opponents, to rally party members around a shared narrative of national pride, and to keep the public’s attention away from contentious policy debates. In this way, the film Dhurandhar is not just a source of entertainment but also a political weapon, with each box‑office figure offering ammunition in the ongoing battle of narratives between the BJP and the opposition.

Word count: 1,030 words (including all sections).