The film industry serves as a gateway to political entry

By T.Chiranjeevulu, IAS (Ret)

 The film industry is not merely a source of entertainment but a powerful tool that influences people's thinking. It has a profound impact on the masses. For decades, the film industry in India, particularly in the Telugu states, has become a gateway to politics. We have seen numerous instances where popular film heroes have entered politics and gained power. In the Telugu film industry, most leading heroes belong to dominant castes. Despite lacking political experience, they leverage their economic strength, social support, and cinematic fame for political purposes. Through their on-screen image and roles, they create a perception among audiences that they are "saviors," paving the way for their political journey. 

 In the Telugu states, N.T. Rama Rao (NTR) stands as a prime example. After gaining immense popularity as an actor, he founded the Telugu Desam Party in 1982 and became Chief Minister within months. His cinematic fame and the emotional appeal of "Telugu self-respect" ignited public sentiment, propelling his political success. Following him, film heirs like Balakrishna and Pawan Kalyan also entered politics. Pawan Kalyan, who founded the Jana Sena Party, has attempted to showcase a distinct political style, but his political journey remains unclear. Similarly, Chiranjeevi founded the Praja Rajyam Party and later joined Congress, serving as a Union Tourism Minister. Babu Mohan, a Dalit, entered politics and became a minister, while Krishna Raju and director Dasari Narayana Rao served as Union Ministers. Actress Vijayashanti also served as an MP.

 In Tamil Nadu, leaders like M.G. Ramachandran and Jayalalitha, both from the Brahmin community, gained public adoration through cinema before rising to the top in politics. They are prime examples of using cinema as a platform for political success. Many such figures across various states have become ministers or chief ministers through their cinematic background. However, a critical point to note is that in this tradition of cine-politics, representation from marginalized communities (Bahujans) is minimal. Most leaders who enter politics through cinema belong to dominant upper castes. Bahujans, often relegated to supporting roles in films, are denied access to power. Not only do they rarely become heroes, but they also lose opportunities for leadership in politics—a harsh reality. 

 Moreover, films are increasingly produced with caste names, such as *Samarasimha Reddy* or *Narasimha Naidu*, glorifying dominant castes and further undermining the self-respect of Bahujans. With political power in the hands of dominant castes, they inflate ticket prices for their films, supported by permissions from dominant caste political leaders. Dominant caste heroes earn hundreds of crores as remuneration per film. Using the wealth and image gained from cinema, they enter politics, secure positions, and dominate the political landscape. Backward Classes (BCs) admire these heroes on screen, forming fan clubs and becoming political workers, essentially turning into mental slaves. Upper-caste producers make films during elections to favor their preferred parties or portray opponents as villains, shaping ideological narratives. The film industry has become a tool for political propaganda. 

 This trend has left audiences confused about what to do or whom to vote for. Films should be viewed solely as entertainment. When dominant caste individuals enter politics, their past should be scrutinized, not their cinematic glamour, before deciding whether to support them. For instance, in Tamil Nadu, superstar Kamal Haasan contested the Lok Sabha election from Coimbatore but lost decisively to an ordinary handloom worker. Rajinikanth, who announced plans to start a party, later abandoned the idea. Actors like Vijayakanth founded parties but failed to make a significant impact. 

 Some dominant caste producers exploit Bahujans and women, both physically and financially, under the guise of offering cinematic opportunities. The public must recognize that acting and politics are distinct. They should not be swayed by glamour. Bahujans must exercise their vote with caution and support films featuring BC, Dalit, and Adivasi actors or those with meaningful narratives. The film industry should reflect society, not perpetuate upper-caste dominance or social inequalities, which undermines democracy. It affects not just the entertainment industry but also the balance in governance. 

 In this context, Bahujan artists, writers, and directors must channel their creative energy into fostering political awareness. The film medium should be transformed into a tool for social justice. Only then can balance and justice in politics be achieved. In the Telugu states, the film industry is a significant factor in keeping political power in the hands of dominant castes. Breaking this chain is essential to make it easier for Bahujans to attain political power.