A burgeoning trend in Indian cinema involves re-examining and “correcting” perceived historical inaccuracies. This week, the spotlight falls on “The Taj Story,” a film gaining significant attention for its contentious claim that the iconic Taj Mahal is, in fact, a Hindu temple. Headlined by the versatile actor Paresh Rawal, the movie weaves a revisionist view of our past through the lens of a courtroom drama.
The filmmakers explicitly suggest that the current political climate is ripe for challenging established historical narratives, repeatedly emphasizing the need to rectify “errors” in historical education. This approach crafts a “what-if” scenario, catering to an audience keen on seeing long-nurtured communal fantasies played out on the big screen.
Directed by Tushar Amrish Goel, “The Taj Story” follows Vishnu (Paresh Rawal), an Agra-based tourist guide who is convinced the Taj Mahal is a Shiva temple. His outspoken beliefs lead to suspension by the predominantly Muslim Guide Association, prompting Vishnu to embark on a quest for the “truth” by filing a public interest litigation. The narrative then shifts to a courtroom, where the central argument focuses on whether Emperor Shah Jahan truly built the Taj Mahal from scratch or merely converted an existing palace belonging to Man Singh into a mausoleum for his beloved wife, Mumtaz Mahal. The film features Zakir Hussain, Namit Das, and Sneha Wagh, and runs for 165 minutes.
The film’s structure is noticeably designed to foster majoritarian fears and position one community as staunch defenders of Mughal rulers. It portrays the Taj Mahal as a symbol of historical “atrocities” and genocide, simultaneously accusing “leftist historians” of engaging in “intellectual terrorism.” Through broad caricatures, the film alleges that historians concentrate solely on Colonial rule while granting Mughal rulers undue praise, anointing them with titles like “the great” and portraying them as champions of love and secular values—a depiction the film contends is far from reality. However, when it comes to offering scholarly rebuttals, the writing stumbles, relying more on polemics than substantive academic discourse.
Without explicitly naming sources, the movie reintroduces claims by P.N. Oak and Marvin Miller as fresh evidence, despite these theories having been extensively discussed and largely discredited over time. While it stops short of advocating for the excavation of the world wonder, it passionately calls for carbon dating of the monument. This advocacy resonates with numerous similar demands that frequently emerge in contemporary news. The film concludes with a black screen listing several petitions currently pending in courts, strongly implying that the movie itself serves as a “publicity interest petition” to keep this contentious issue alive in public consciousness.
Minor details also reflect the film’s approach; for instance, the production designer’s credit oddly misspells “archaeology”—a seemingly fitting oversight for a project purportedly built on half-truths and unsubstantiated claims.
Overall, “The Taj Story” aligns with the style of “The Kashmir Files,” aiming to sustain a particular societal narrative. Just as Anupam Kher’s compelling performance provided the backbone for the former, Paresh Rawal effectively carries this film, skillfully navigating its often obfuscating agenda. While some attempts are made to include opposing viewpoints, with characters self-consciously emphasizing that their claims aren’t from unverified social media sources, the underlying message remains transparent. Rawal’s blend of political conviction and acting talent injects vitality into the proceedings. Alongside Zakir Hussain, who plays the advocate defending the Mughal perspective, Rawal creates compelling dramatic moments and occasional comic relief in the courtroom. Despite moments where it appears Rawal and Hussain might find common ground, the film’s persistent portrayal of one community’s men in traditional attire—skull caps, beards, and kohl-lined eyes, often with a frown—makes its ultimate intent unmistakably clear.
“The Taj Story” is currently running in theaters.