Filmmaker Ram Gopal Varma recently revisited a dark chapter in Hindi cinema, focusing on the pervasive influence of the underworld during the 1990s. This period saw crime syndicates, particularly those led by notorious figures like Dawood Ibrahim, exert significant control over the film industry, impacting casting choices and instilling fear among prominent personalities.
In a discussion with crime writer Hussain Zaidi, Varma emphasized that the actions of the underworld were strategic rather than arbitrary. He explained that gangsters utilized intimidation to assert dominance over key figures in Bollywood. By targeting stars like Rakesh Roshan and Shah Rukh Khan, they aimed to showcase their power. Varma noted that for many in the industry, the risk of defiance was substantial, as the repercussions could be severe.
Moreover, the underlying motive was not purely financial; it revolved around managing power dynamics within the industry. Varma illustrated this by noting how actors like Hrithik Roshan were perceived as hard to access, making fear a potent tactic for gangsters. He cited a chilling underworld mantra: “Kill one, extort money from ten,” which highlights the calculated nature of their intimidation methods.
Transitioning to specific incidents, Varma linked this atmosphere of fear to the shooting of Rakesh Roshan in January 2000, shortly after his film Kaho Naa… Pyaar Hai had garnered success. Allegedly, gangsters wanted to control Hrithik Roshan’s availability for future projects and resorted to violence when Rakesh resisted pressure. On January 21, gunmen attacked him outside his office, a violent act perceived as retribution. Rakesh later described this time as one filled with anxiety and fear, particularly regarding his son’s safety amidst such threats.
Varma also examined the circumstances surrounding the murder of Gulshan Kumar in 1997, attributing it to a combination of jealousy, power struggles, and defiance. Kumar’s escalating success in the industry may have provoked rivalries that ultimately culminated in his assassination. Notably, Varma speculated that figures like Abu Salem viewed Kumar’s murder as a way to enhance their standing in the criminal underworld, especially after Kumar resisted extortion attempts and proved unwilling to be intimidated.
On the day of Kumar’s murder, Varma recalled being at producer Jhamu Sugandh’s house when the shocking news broke, leaving everyone present visibly shaken.
Delving deeper, Varma outlined the extensive connections between Bollywood and the underworld during this tumultuous decade. He highlighted that the intertwining of the film industry with criminal elements manifested in various forms, from financing to coercive casting practices. Former Mumbai Joint Commissioner of Police D Sivanandhan corroborated this sentiment, suggesting that several films, particularly those portraying gangland life, may have been funded by underworld figures.
The 1990s were characterized by a pervasive ambiance of fear within Bollywood, marked by occasional sightings of film personalities alongside notorious criminals, especially in the Middle East. Varma, known for addressing these themes in his films such as Satya, Company, and D, stated that much of his storytelling is informed by real-life experiences from this era.