1. Film Premise and Narrative Construction
Dhurandhar is a high-budget Indian spy/action thriller directed by Aditya Dhar, following a fictional Indian intelligence operative operating inside Pakistan, particularly Karachi’s Lyari district. It blends fictional characters, dramatized espionage elements, and loosely referenced real criminal figures to craft a narrative rooted in conflict and covert operations.
The movie frames Pakistan especially Lyari as an epicenter of terrorism and gang-related violence, with Indian agents embedded to disrupt that ecosystem. This setup is narratively convenient for high tension and drama, but it is a broader geopolitical fiction rather than an accurate socio-political documentary.
2. Core Criticisms from Pakistani Analysts and Audiences
A. Exaggerated Setting
Critics highlight that the film’s depiction of Karachi’s Lyari as a “terror infrastructure hub” is an oversimplification and exaggeration. Lyari’s real gang violence and turf wars in the 2000s were serious but not directly linked to India-centric terror narratives as shown in the film.
Pakistani commentators dispute elements such as:
- The scale and nature of criminal figures like Rehman Dakait.
- The implication of official Pakistani agencies directly fueling cross-border terror plots.
- The linkage between Lyari’s dynamics and major geopolitical terror events referenced in the movie.
B. Distortions and Inaccuracies
Costume and cultural representation errors have been pointed out, such as characters wearing unrealistic outfits not typical in Pakistan or props that do not align with local norms, underscoring a lack of cultural authenticity.
Urban infrastructure, including street layouts and vehicle portrayals, has been mocked for inaccuracy, feeding into the “fake view” critique.
C. Political and Narrative Pushback
Several Pakistani political figures have framed the movie as propaganda rather than entertainment. For example, Sindh’s senior minister Sharjeel Inam Memon called the film anti-Pakistan and announced a counter-film project, Mera Lyari, to showcase the district’s culture, resilience, and normalcy rather than perpetual conflict.
Legal objections have also been raised over alleged misuse of imagery related to historical Pakistani personalities, further emphasizing the perception that the film distorts legacy and national identity.
3. Social Media and Public Reaction
On social media, reactions are varied:
- Memes mocking factual errors and implausible portrayals, such as unrealistic vehicles and exaggerated spy scenarios, have circulated widely.
- Some Pakistani users noted that the film portrays Pakistan as wealthier or more globally significant than economic reality suggests, highlighting the divergence from facts.
- Contrasting opinions exist, with some praising aspects of the film or its music, showing the response is not monolithic.
4. Where Reality and Fiction Diverge
From a factual perspective, real-world Pakistan, particularly Karachi and Lyari:
- Experienced gang violence, political factionalism, and community struggles, but these do not map directly onto the foreign spy plots depicted in the movie.
- The complexity of Karachi’s society, including ethnic layers, political movements (like PPP and MQM), and periods of calm, is oversimplified for dramatic effect.
- Depictions of intelligence agency actions, direct cross-border terrorism links, or exaggerated criminal omnipotence are largely narrative devices rather than documented historical events.
Technical assessment of the “fake view” claim:
- The film uses fictionalization and dramatic license to heighten conflict and geopolitical stakes.
- Real socio-political dynamics of Pakistan are not faithfully depicted; critics call this a propaganda framing rather than a nuanced portrayal.
- Cultural authenticity, accurate urban representation, and factual political context are questioned by Pakistani audiences and analysts.
- Responses range from critical pushback to cultural memes, indicating divergent interpretations rather than wholesale rejection.
