Eastern antagonism: Why American films and shows often cast Indians as villains

India Today

6 hours ago

While Priyanka Chopra earns global roles as an MI6 agent in 'Heads of State' and an American spy in 'Citadel,' a persistent issue remains. Hollywood continues to portray Indian characters stereotypically as villains—thugs or terrorists. Here's a look at the roots of Eastern antagonism in cinema and the way forward.The exotic antagonists in 'Octopussy' (1983), and the Thugee cult in 'Indiana Jones and the Temple of Doom' (1984), reflect the perceptions of non-Western cultures originating from British Raj literature and pulp fiction. The orientalist gaze and post-colonial echoes in cinema later transcended into the terrorist trope or gritty realism, projecting Indians in morally compromised roles.advertisementThe cliched criminals in 'Slumdog Millionaire' (2008) later reinforced the narrative that poverty breeds villainy, tied to the underbelly of society. While there is enough conversation around inclusivity and diversity in cultural representation in Hollywood, when it comes to Indian culture and society, the audiences are yet to see the light of the day.
Spoiler AlertArnold Schwarneneggar's espionage-thriller series 'Fubar' is yet another example of unexamined villain archetypes in Western storytelling, especially with South East Asian characters. The show revealed Tina Makerji (Aparna Brielle) as the NIA data analyst, who is also a Russian double agent. The second season later follows Bashir, the builder from Kolkata who is linked to global terrorist organisations.While these films and shows have not painted a complete dark picture of the antagonists, the subtle depiction of Asians, particularly Indians, from an Eastern lens in cinema, contributes to xenophobia and cultural misappropriation in the media.advertisementDespite Indians not just being associated with Silicon Valley but also being popular names in Hollywood, the West doesn't seem to break away with the Colonial biases. Filmmakers Gurinder Chadha, Meera Nair, Deepa Mehta and Shekhar Kapur have created a niche for themselves in Hollywood, yet their presence doesn't reflect in the way Indians are portrayed.Western depiction of Thugee cultThe negative Indian characters in Hollywood often give visual cues of their morality. Their projection in opulent but dark settings with a sense of otherness, makes them perfect foils for Western heroes. The dark, exotic perception of Indians dates back to the 19th century. Western authors like Philip Meadows Taylor's 'Confessions of a Thug' (1839) and later John Kaye's 'The Suppression of Thuggee and Dacoity' (1897), contributed to the early negative impression of Indians. The native tropes played a crucial role in popularising the exotic antagonist narrative in Hollywood.While there were people like Max Mueller from Germany who invested in ancient Sanskrit Vedas and Upanishads, mainstream Western media preferred to only focus on the dacoity, evil archetypes of Indians. This also reflects the perception of the West regarding India being a land of snake-charmers, as mentioned in Akshay Kumar's 2007 film 'Namstey London'.advertisementWatch video here: Hollywood's fascination with exotic villainsThe 1983 James Bond action-thriller 'Octopussy', often remembered for featuring Indian actors and shooting in Rajasthan, wasn't spared of stereotypes either. It cemented the image of the wealthy, morally ambiguous, and often treacherous Indian figure connected to illicit activities or secret societies. The themes once again symbolised the fanatical, mystical threat influenced by Indus Valley cults and dark magic.Actor Naseeruddin Shah, who portrayed Captain Nemo in 'The League of Extraordinary Gentlemen', is suspected by his team since he worships Goddess Kali, perceived to be the goddess of death, according to Western interpretations in the film. In one of the sequences where Nemo is praying to the goddess, his American partners can be overheard saying, "How can we trust a man who worships the goddess of death?"While the fanatical, barbaric and occult practices are the most preferred characterisations of South Asians and Africans, new -age cinema also likes to glorify the poverty-driven criminal. It is either the underprivileged backdrop or the post-9/11 trope of Asians necessarily being part of terrorist groups, irrespective of their nationalities. The idea of poverty or social unrest leading to criminal intent of Asian characters has been done to death in Western movies and shows.advertisement'Extraction' (2020), yet again had a plot where an Australian black ops mercenary protects the teenage son of an Indian drug lord (Pankaj Tripathi) from kidnappers.Eastern antagonism stereotypes in HollywoodThe emerging stereotypes of Indians as nefarious, tech villains showcase the rapid technological advancement being twisted into new sources of antagonism from the East. The prevalence of such stereotypes stems from a dearth of Indian writers, directors, and cultural consultants in Hollywood's decision-making roles. This further leads to shallow characterisations based on outdated tropes rather than genuine understanding.The real-world consequences of these portrayals could have an adverse impact on the self-image of Indian diaspora youth. For cinema to welcome inclusivity, it is essential to have diverse storytelling and genuine character development in order to avoid limiting and harmful stereotypes.Shows like 'Never Have I Ever' (2020-2023) and 'One Day' (2024) have been notable exceptions that have treated Indian actors as characters rather than forced stereotypes. Indeed, talents like Priyanka Chopra, who navigates roles from MI6 agents to American spies, and Ali Fazal, with his diverse international performances, consistently prove their versatility.The onus, therefore, lies on filmmakers in Hollywood to bring a more nuanced and well-researched representation of Indian characters in Western films and shows. World cinema can only truly prosper when there is accurate and responsible storytelling beyond any cultural or ethnic biases.With streaming platforms and international film festivals increasingly encouraging diversity, there is immense potential for young storytellers to finally carve out more authentic and complex Indian characters in cinema.- Ends