Tribal Heroes in Indian Cinema: Between Historical Truth and Popular Entertainment
Table of Contents :
Personal InformationAssignment Details
Abstract
Keywords
Introduction
Historical Context vs. Cinematic Representation
Illustration from the RRR (2022)
Impact on Public Understanding
Conclusion
Personal Information:-
Name:- Dhatri Parmar
Batch:- M.A. Sem 3 (2023-2025)
Enrollment Number:- 5108230032
E-mail Address:-dhatriparmar291@gmail.com
Roll Number:- 6
Assignment Details:-
Topic:-Tribal Heroes in Indian Cinema: Between Historical Truth and Popular Entertainment
Submitted to:- Smt. Sujata Binoy Gardi, Department of English, MKBU, Bhavnagar
Date of Submission:- 18 November 2024
Abstract :
This research paper examines how Indian cinema portrays tribal leaders and their struggles, focusing on the transformation of historical narratives into mainstream entertainment. Through analysis of film RRR (2022), this study explores how cinema both preserves and alters tribal histories, often prioritizing entertainment over historical accuracy and contemporary relevance.
Keywords : Cinema, Tribal, Narratives
Introduction :
Indian cinema plays a crucial role in shaping public understanding of historical figures and events. However, when portraying tribal leaders and their struggles, films often simplify complex historical narratives to fit commercial cinema formats. As film critic Raja Sen notes, "Cinema's responsibility to entertain often conflicts with its potential to educate" (Sen 45). This paper examines how this tension affects the representation of tribal histories and their ongoing relevance to contemporary issues.
Historical Context vs. Cinematic Representation :
The practice of elevating tribal heroes to divine or legendary status has deep roots in Indian history. As Kalyan K. Ganguli notes, even Indra, now known as a major deity, likely began as a tribal hero of the Kausika clan before being transformed into a god (Ganguli 87). This historical pattern continues in modern cinema, where tribal leaders are often portrayed as larger-than-life figures.
The transformation of historical tribal leaders into cinematic heroes often involves significant alterations to their original stories. For example, RRR reimagines tribal leaders Alluri Sitarama Raju and Komaram Bheem as unified freedom fighters against British colonialism, despite their historically distinct struggles. Film historian Raju Bharatan observes that "commercial cinema often sacrifices historical specificity for emotional resonance" (Bharatan 23).
Illustration from the RRR (2022) :
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The film introduces us to Komaram Bheem (played by NTR Jr.), a Gond leader who travels to Delhi to rescue Malli, a young Gond girl with a remarkable singing talent who has been abducted by British officials. Disguised as Akhtar, a Muslim mechanic, Bheem encounters Rama Raju (Ram Charan), a fierce officer working for the British. They first meet in a dramatic sequence, where Bheem and Raju join forces to save a boy from a raging fire, with Raju carrying a nationalist flag, symbolically passing it to Bheem. This moment lays the foundation for a strong bond between the two, even as they remain unaware of each other's true identities.
While RRR creates an engaging visual narrative, it merges real historical figures with fictional elements, mythologizing the lives of Komaram Bheem and Alluri Sitaram Raju, who were actual freedom fighters from different regions and periods. S.V. Srinivas points out that such mythologization often leads to a “re-feudalisation” of cinema, where heroic figures are portrayed with exaggerated masculine strength and loyalty, but the actual historical and cultural context is altered or ignored.
The film raises questions about the portrayal of Komaram Bheem, whose struggle was actually against the Nizam of Hyderabad for the rights of indigenous people in the 1930s. His slogan “Jal, Jangal, Jameen” (Water, Forest, Land) symbolized his fight for land rights.(Barad)
The film introduces NTR Jr.’s character, Bheem, in a powerful “water” sequence set in a forest near Delhi. Bheem, covered in blood, waits for a wild beast. He confronts both a wolf and a tiger in a suspenseful chase, eventually capturing the tiger for an undisclosed purpose. This scene highlights Bheem’s bond with the forest and its animals, as he even calls the tiger “brother,” which also alludes to NTR Jr.’s image as “Young Tiger” in the Telugu film industry.
However, the film shifts his struggle to a battle against the British, erasing some of the specific causes he fought for. Similarly, Alluri Sitaram Raju, who led the Rampa Rebellion against British forces in the 1920s, is shown alongside Bheem despite the historical inaccuracy of their meeting.
Critics have commented on the film’s portrayal of these tribal heroes, often suggesting that RRR overlooks the real socio-political issues they represented. Akash Poyam criticizes the way RRR depicts Bheem as a “noble savage” being “civilized” by the upper-caste Raju, which can be seen as a distortion of both historical characters. Rajamouli’s previous film Baahubali (2015) similarly portrayed Adivasis in a dehumanizing way, as savages who spoke gibberish, leading some critics to accuse him of “identity theft,” by misrepresenting tribal struggles and culture.
In contrast, Ram Charan’s character, Rama Raju, is introduced as “fire” or “power.” In his first scene, Raju demonstrates his strength by violently suppressing a crowd protesting against the British. Although he appears loyal to the British, it is revealed later that Raju’s goal is to secure arms for his people in Andhra. The scene emphasizes the physical resilience of Raju’s character, who endures wounds and betrayals but remains determined in his mission.
Further complicating the matter, the film also touches on recent political and cultural issues related to the formation of the state of Telangana, which split from Andhra Pradesh in 2014. The historical and political tension between Andhra Pradesh and Telangana is linked to both linguistic and regional identity. Hyderabad, a key Telugu cinema production center and the former shared capital of Andhra Pradesh and Telangana, symbolizes this division. The division of the state brought with it complex issues of resource allocation and shared heritage, including disputes over river water and forests.
Additionally, the fame of the film’s stars, NTR Jr. and Ram Charan, reflects the legacy of their famous families in Telugu cinema and politics. S.V. Srinivas discusses how their family histories connect to a “feudal” lineage in Telugu cinema, where actors like N.T. Rama Rao (NTR Jr.’s grandfather) and Chiranjeevi (Ram Charan’s father) represented regional pride and authority on screen, often embodying feudal values. Srinivas notes that this “feudal past” in Telugu films blurs the line between cinematic and political representation, with stars gaining public legitimacy through their on-screen roles.
The song Naatu Naatu, which combines traditional Telugu elements with a global beat, embodies this cultural blending. Chris Chekuri describes the term Naatu as a way to navigate between traditional and modern influences. This mix of local and global themes is reflected in the song's lyrics, which capture the cultural pride and local flavor of Telugu traditions while appealing to a worldwide audience.
The “Hail Motherland” slogan of the nationalists is used during the first encounter between Raju and Bheem.
Above: Marked by shafts of light and visible in the background is a recreation of the Hindu iconography of “Bharat Maata” (Mother India), which is used to emphasize the nationalist climate.
A central theme of RRR is its fantastical representation of caste and political hierarchies, especially in scenes like the climax where Bheem rescues Raju. Bheem’s daring raid on the British palace with caged wild animals, symbolized by tigers and wolves, is visually spectacular but raises questions. Although Bheem respects animals as part of his Adivasi heritage, he uses them in battle, similar to how Raju uses Bheem to achieve his own goals. This sequence has been criticized for turning Adivasi principles into mere action tropes for entertainment.
The relationship between Bheem and Raju eventually leads to Bheem’s capture, where Raju, acting as a “big brother” figure, hands him over to the British. In the film, this scene reinforces social hierarchies, showing Raju (an upper-caste Hindu) literally elevated above Bheem as he rides on Bheem’s shoulders in the climactic battle. This portrayal has been interpreted both as a critique of caste-based social structures and as a reinforcement of them, depending on the viewer’s perspective.
The final scenes, where Bheem and Raju escape together, emphasize the film’s nationalistic message. Raju, dressed in saffron and using a bow and arrows, represents the mythological Ram, while Bheem, the “lion” of his people, symbolizes his connection to the Komuram clan. This scene, with its visual and symbolic allusions to Hindu mythology, raises questions about why Raju, as a nationalist hero, would burn a forest—an act contradictory to the values of environmental protection central to Adivasi struggles.
In fact, RRR does not deny the historical status of Bheem and Raju; instead, it mythologizes their unlikely friendship, creating a new narrative that aligns with regional pride. By doing this Rajamauli undermines the regional rebelioan of the tribals and made it the war of Indian vs Britshers which was actually tribals vs government.
One of the film’s most emotional scenes is when Bheem is captured and whipped by Raju in front of a large crowd. Bheem, with his arms tied, resembles a Christ-like figure who endures pain without surrendering. In this moment, Bheem calls upon his ancestral spirit, Kumaram Bheem, symbolizing his connection to the forest and his identity as a “child of the forest.” His resistance resonates as a powerful moment in which he embodies the ideals of his people.
Impact on Public Understanding :The cinematic portrayal of tribal heroes influences public perception of both historical and contemporary tribal issues. A 2023 survey by the Indian Cultural Research Institute found that "75% of urban Indians' knowledge about tribal history comes primarily from popular media" (ICRI Report 34). This highlights cinema's responsibility in shaping public understanding.
The Commercial Cinema Dilemma :
Filmmakers face the challenge of balancing entertainment with historical accuracy. As filmmaker Prakash Jha explains, "We must make these stories engaging while respecting their historical significance" (Jha 89). This often results in:
- Simplification of complex historical contexts
- Focus on individual heroism over collective struggle
- Romanticization of tribal life
- Downplaying of ongoing contemporary issues
Contemporary Relevance :
The representation of tribal heroes in cinema has immediate relevance to current social issues. According to The Times of India report (2023), "Over 100,000 tribal people face displacement due to development projects" (Singh). Yet, mainstream films rarely connect historical tribal resistance to contemporary challenges.
This is the example from day to day life where masterfullly narrative of trible heros are manipulated on the name of Sanatan.
Conclusion :
While Indian cinema has brought tribal histories to mainstream attention, it often does so at the cost of historical accuracy and contemporary relevance. The challenge lies in creating engaging narratives that maintain historical integrity while highlighting ongoing tribal struggles for rights and resources.
This mythologizing comes with “collateral” effects, as the film sometimes overlooks the real struggles of figures like Kumaram Bheem and instead prioritizes action and spectacle. This selective representation highlights both the strengths and challenges of using cinema as a tool for historical storytelling.
Words: 1769
References :
Achmare, R. (2024). The Projection of Marginalized Voices in Hindi Cinema: A critical appreciation of the select films. In JNU, New Delhi (p. 7) [Journal-article]. https://www.epitomejournals.com/VolumeArticles/FullTextPDF/794_Research_Paper.pdf
Barad, Dilip. “Reimagining Resistance: The Appropriation of Tribal Heroes in Rajamouli's RRR.” 2024, https://www.researchgate.net/publication/383603395_Reimagining_Resistance_The_Appropriation_of_Tribal_Heroes_in_Rajamouli's_RRR. Accessed 18 September 2024.
"Displacement and Development." The Times of India, 15 Mar. 2023, p. A4.
Ganguli, Kalyan K. “INDRA, A TRIBAL HERO WHO BECAME A GOD.” Jstor, https://www.jstor.org/stable/44140715. Accessed 02 November 2024.
ICRI. "Media Influence on Historical Understanding." "Cultural Studies Report", https://ijpsat.org/index.php/ijpsat/article/download/6229/3959 2023.
Madhusudan, A. (2024). Dalit Echoes, Green Stories: Understanding the Caste-Environment Nexus in South Indian raps. Rupkatha Journal on Interdisciplinary Studies in Humanities, 16(2). https://doi.org/10.21659/rupkatha.v16n2.31g
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