Why Bollywood Needs Audiences Who Value Substance Over Spectacle

Why Bollywood Needs Audiences Who Value Substance Over Spectacle



It has become a familiar lament: Bollywood no longer produces good films. While this is

partly true, the deeper reality is that movies are shaped by audience preferences. In recent

years, the films that have dominated the box office are either exaggerated action spectacles

from the South or Bollywood remakes of them. Many South Indian films are brilliant, but the

trend of over-the-top heroics—where a stomp shakes the earth or a punch sends ten villains

flying—has become the rage among younger audiences.


The tragedy is that when a film made with heart, authenticity, and strong performances fails

commercially, it discourages filmmakers from pursuing meaningful projects. A recent

example is 120 Bahadur, directed by Razneesh “Razzy” Ghai and produced by Excel

Entertainment and Trigger Happy Studios. Starring Farhan Akhtar, the film depicts the Battle

of Rezang La in 1962, where 120 soldiers of the Kumaon Regiment, led by Major Shaitaan

Singh, stood against 3,000 Chinese troops. Despite overwhelming odds, they fought fiercely,

repelling multiple waves of attacks and preventing further Chinese incursion. Their sacrifice

safeguarded Ladakh and Jammu & Kashmir, preserving India’s territorial integrity.

The film is superbly directed, with some of the finest war sequences Bollywood has

produced. Farhan Akhtar delivers a commanding performance, and the story grips viewers

with both action and emotion. Yet, despite its quality, 120 Bahadur performed poorly at the

box office. This raises uncomfortable questions: Are Indian audiences only drawn to big-

budget spectacles with glamour and star power? Does patriotism resonate only when the

enemy is Pakistan?


India has fought four wars with Pakistan, and while those conflicts were deadly, the 1962

war with China was far more devastating. India lost 38,000 square kilometers of

territory—land that remains under Chinese control even today. Reports of Chinese

aggression and incursions continue, yet public discourse and cinematic focus remain fixated

on Pakistan. This imbalance diminishes recognition of China as a formidable adversary and

overlooks the sacrifices of soldiers who defended the nation against overwhelming odds.

The neglect of films like 120 Bahadur reflects a troubling trend. When audiences reward

spectacle over substance, filmmakers are discouraged from investing in authentic

storytelling. India’s film industry has no shortage of talented writers, directors, and

producers willing to make meaningful cinema. But without an audience that values quality,

their efforts risk being overshadowed by formulaic blockbusters. 


Bollywood does not lack good films—it lacks viewers willing to support them. If audiences

continue to prioritize glamour over grit, the industry will drift further from stories that

matter. The sacrifice of the Rezang La soldiers deserves recognition, not indifference. And

films like 120 Bahadur remind us that cinema can be more than entertainment—it can be a

powerful act of remembrance.

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