Rajiv Rai – News Analysis India

Political Firestorm Over Bharat Ratna for Veer Savarkar

News Analysis India — Mon, 09 Feb 2026 00:00:00 +0000

A fresh political storm has erupted in India after RSS supremo Mohan Bhagwat advocated for the Bharat Ratna award for Vinayak Damodar Savarkar, the controversial Hindutva icon. Opposition voices have swiftly mobilized, decrying the suggestion as an affront to the sacrifices of India’s independence heroes.

In a pointed critique, CPI(M) parliamentarian John Britas declared that such an honor would mark a ‘black day’ in history. He highlighted Savarkar’s multiple petitions apologizing to the British for his role in revolutionary activities, contrasting it with the unyielding resolve of figures like Bhagat Singh. Britas portrayed Savarkar as the architect of divisive ideologies that fueled hatred and communal strife, unfit for the pinnacle of civilian accolades.

Samajwadi Party’s Rajiv Rai amplified the opposition chorus, warning against glamorizing capitulation. ‘Establishing a tradition of rewarding mercy-seekers would open floodgates to undeserving claims,’ he asserted. Rai posed a rhetorical question to the nation: ‘Shall we teach our youth to kneel before oppressors instead of resisting them?’ He expressed confidence that public conscience would reject this narrative.

Rai didn’t spare allied targets, ridiculing AIMIM chief Asaduddin Owaisi’s Uttar Pradesh ambitions with a witty retort to his aggressive slogan. He suggested Owaisi rephrase it to acknowledge his precarious position under Yogi Adityanath’s governance.

The SP leader further lampooned AIMIM’s state president’s fantasy of a veiled woman leading Uttar Pradesh. ‘Get elected as a legislator first; chief ministership can wait,’ Rai shot back, highlighting the party’s string of electoral failures.

This episode reveals entrenched fault lines in interpreting Savarkar’s complex legacy—from his early revolutionary zeal to later accommodations with colonial powers and authorship of Hindutva ideology. With Bharat Ratna decisions carrying immense symbolic weight, the debate is set to intensify, potentially influencing coalition dynamics and voter sentiments ahead of crucial polls.

Rajiv Rai Discusses ‘Gupt’ Song’s Inclusion in Aryan Khan’s Series

News Analysis India — Sun, 28 Sep 2025 00:00:00 +0000

Director Rajiv Rai has shared details about the use of his song ‘Duniya Haseenon Ka Mela’ from the 1997 film ‘Gupt’ in Aaryan Khan’s series, ‘The Bads Of Bollywood.’ The song features prominently in the series, with Bobby Deol performing to it, although the actress Mona Singh’s face is morphed into the song. Rai clarified that the original dancer in the song was Bhanu Khan, who was an assistant to Rekha. Initially, another actress was chosen for the role, but she couldn’t dance well. Rekha suggested Bhanu, who had experience in Tamil films. Rai mentioned he hadn’t seen the episode where the song is used but was aware of its inclusion and gave permission to Shah Rukh Khan’s production. He expressed that he typically doesn’t give his music out, but because of his close relationship with Shah Rukh and his son, he readily agreed. Rai stated that he wasn’t aware of how the song was implemented in the series but trusted that it was used well, given the connection to Bobby Deol’s character. He also expressed his happiness for Bobby and the Khan family and wished them success.

Rajiv Rai Discusses His Comeback with ‘Zora’ and ‘Zoravar’

News Analysis India — Fri, 08 Aug 2025 00:00:00 +0000

After a 21-year hiatus, Rajiv Rai is back in the filmmaking arena. He took on multiple roles for the film ‘Zora,’ including writing the story and screenplay, editing, directing, and producing. He is also handling distribution, a first for him, much like his father, the legendary Gulshan Rai. With no advertising budget, the film is aimed at a small audience, a deliberate choice. ‘Zoravar,’ the companion film, is also ready for release. The decision to create two interconnected films, ‘Zora’ and ‘Zoravar,’ stems from a desire to approach filmmaking with a fresh perspective, reminiscent of his earlier days. He embraced a significantly reduced budget to test his creative abilities, aiming to create a compelling visual experience despite financial constraints. He collaborated with Rashid Rangrez and prioritized using basic equipment. The film’s production involved a limited crew and a cast with modest remuneration. ‘Zora’ is a suspenseful murder mystery, and he aimed to set an example for the industry, advocating for new talent and smaller budgets. He embraced the challenges of low-budget filmmaking, which included staying in modest accommodations and foregoing luxuries like vanity vans. The film features a unique approach, different from his previous work, and he’s taking a risk. He believes the industry needs to reduce costs, a plan he initiated in 2018. He emphasizes that established filmmakers can continue with their vision, but for many others, a budget-conscious approach is essential. He plans to continue this approach regardless of ‘Zora’s’ success.

Rajiv Rai’s ‘Pyar Ishq Aur Mohabbat’ Celebrates 21 Years

News Analysis India — Sun, 03 Aug 2025 00:00:00 +0000

Rajiv Rai, known for his visually dynamic films like ‘Tridev’ and ‘Mohra,’ presents a more subdued work in ‘Pyar Ishq Aur Mohabbat.’ The film offers a different perspective, showcasing the beauty of the Swiss Alps with considerable emotion. P.S. Vinod’s cinematography is a highlight, capturing a fairytale-like quality. While the screenplay attempts a quadrangular romance, the visuals convey the story’s lyrical essence. Key sequences, such as a dinner scene involving Suniel Shetty and Arjun Rampal, demonstrate Rai’s sensitivity. However, the film’s numerous encounters dilute the central romance, impacting its overall appeal. Despite the stunning landscapes, the audience’s connection with the characters is limited. The film combines inner and outer landscapes, flowing through mature sequences and original songs by Viju Shah. Arjun Rampal stands out as a complex character. Suniel Shetty’s performance revisits familiar roles. Aftab Shivdasani’s role is less impactful, and Keerti Reddy’s character is a focal point, although the audience’s understanding of the romantic interests remains unclear. The film concludes with a Shakespearean-comedy-inspired resolution.