Filmmaker Ram Gopal Varma has recently reflected on the dark influence of the underworld on Hindi cinema during the 1990s. He discussed the pervasive threats and pressures exerted by crime syndicates, led by notorious figures like Dawood Ibrahim. Varma highlighted how this climate of fear targeted prominent personalities within the industry, including Rakesh Roshan and Gulshan Kumar, impacting their careers and lives.
In a conversation with crime writer Hussain Zaidi, Varma emphasized that the underworld’s activities were strategic rather than arbitrary. He indicated that gangsters utilized intimidation to dominate influential figures in Bollywood. “When the underworld wants to assert its power, it targets big names like Rakesh Roshan, Salman Khan, and Shah Rukh Khan,” he stated, noting the larger-than-life personas these stars embodied.
The motives behind these actions extended beyond mere financial gain; they were grounded in a desire for control and authority. By instilling fear in major stars, the underworld aimed to establish its dominance. Varma mentioned that access to icons such as Hrithik Roshan was challenging, making intimidation a common tactic. He pointed out that if an individual resisted, an example would be made to deter others, encapsulated in the saying, “Kill one, extort money from ten.”
Varma linked this pervasive fear to the attempted assassination of Rakesh Roshan in January 2000, shortly after the success of his film “Kaho Naa… Pyaar Hai.” He alleged that gangsters sought control over Hrithik’s schedule for a film project and, upon Rakesh’s refusal, resorted to violence. On January 21, 2000, Roshan survived an armed attack outside his office, which was widely viewed as retaliation for his resistance. Recalling the pressure to accommodate Hrithik’s availability, Rakesh described that period as fraught with anxiety and dread.
Discussing the tragic murder of Gulshan Kumar in 1997, Varma attributed it to a combination of jealousy, power struggles, and defiance. He suggested that Kumar’s rising success made him a target, compounded by rival narratives and external influences. Varma speculated that individuals like Abu Salem viewed the assassination as a means to enhance their standing within the underworld. Gulshan’s resistance to extortion attempts and his unwillingness to be intimidated also played a role in his demise.
On the day of Kumar’s murder, Varma recounted being at producer Jhamu Sugandh’s residence when the shocking news emerged, leaving everyone present stunned. This incident underscored the ruthless reality faced by those within the film industry during this tumultuous era.
Varma further elaborated on the intricate ties between Bollywood and the underworld throughout the 1990s. He noted that the film industry was woven into the fabric of organized crime in various ways—from financing films to coercion in casting decisions. In line with this, former Mumbai Joint Commissioner of Police, D. Sivanandhan, acknowledged that a number of films depicting gangster life were reportedly funded by these criminal networks.
The atmosphere in Bollywood during this time was characterized by an unspoken fear, with instances of film personalities appearing alongside known underworld figures, particularly in regions like the Middle East. Varma, whose works such as “Satya,” “Company,” and “D” draw inspiration from these real-life events, continues to explore this intertwining of cinema and crime in his storytelling.