Prithviraj Sukumaran isn’t just an actor, producer, and director—he’s a self-anointed crusader for the leftist elite, wielding cinema as a weapon to smear Hindus, the Bharatiya Janata Party (BJP), and Prime Minister Narendra Modi. Born into a film family in Kerala, Prithviraj has built a career on privilege while posturing as a champion of downtrodden. His collaborator, screenwriter Murali Gopy, openly admits to an “anti-right” stance while criticizing the mainstream Left for not being pure enough, as noted in a 2023 Indian Express interview. Gopy’s influence is evident in Prithviraj’s projects, which drip with disdain for Hindu nationalism and Prime Minister Narendra Modi’s vision of a united India. From his social media virtue-signalling to his filmography, Prithviraj peddles a worldview that romanticizes Kerala’s red-draped politics, cajoles the Islamists, vilifying anyone who dares to embrace Hindu pride or support the BJP. He’s not a filmmaker—he’s a propagandist with a camera, and through his works – Empuraan and Jana Gana Mana – he is waging an ideological/political warfare against Hindus who are vocal and support Prime Minister Modi.
Dissecting Empuraan: A Cinematic Hit Job On Hindus And BJP That Shows A PM Modi Look Alike Getting Killed By Foreign Agents
Empuraan, released on March 27, 2025, and co-starring Mohanlal, is Prithviraj’s most brazen assault yet on Hindus, the BJP, and Modi. The film opens with a disclaimer—“All scenes and characters depicted are fictional”—but what unfolds is a calculated distortion of history, starting with a village burning in 2002, a clear reference to the Godhra riots. That real event saw a Muslim mob burn a train, killing 59 Hindu pilgrims, sparking riots. Like a typical leftist dimwit, Prithviraj erases the initial attack, showing only Hindu mobs as aggressors—beating a Muslim boy to death, attacking Muslim refugees, and raping a pregnant Muslim woman in a Hindu household.
On the other hand, the Sabarmati Express carnage “accidentally” catches fire from inside which the Gujarati Hindu communal party leader Bajrang Patel, uses it as an opportunity to kill Muslims and grab power. A Muslim boy (Prithviraj) escapes from there and takes revenge on the Hindu leader who, by now, has become a national leader of ruling Hindu party.
The propaganda intensifies with the Hindu mob leader named “Bajrang,” a blatant nod to Bajrang Dal, a Hindu rights group tied to the RSS. He later becomes the national leader of the Hindu party and is portrayed as someone close to the Home Minister.
And then you’ve Jathin “Ram” Das, a sitting CM who joins hands with the pro-Hindu party at the Centre. In real-life, it translates to the Centre engineering a split in Congress to bring a Hindu party to power in Kerala.
The film frames this merger as a betrayal of Kerala’s culture, a divisive message rooted in the state’s history of “secular” pandering of the Islamists by the Communists. A villain resembling Narendra Modi spouts baseless claims about Kerala’s “600 km coastline” being used for drug smuggling, while a reference to a bomb on a dam—read: Mullaiperiyar—stokes fear with reckless sensationalism. What Prithviraj is implying is there’s a conspiracy being hatched by the Hindu “fanatic party” to explode a major dam and kill millions.
The climax is a chilling fantasy: “Bajrang” is defeated by a Christian “Lucifer” (Mohanlal) and a Muslim “Zayed” (Prithviraj), a non-Hindu alliance defeating the Hindu leader “Ramdas” who is then killed by a Chinese mafia. Is Prithviraj’s fetishing that Narendra Modi be killed by Chinese agents and foreign forces?
Throughout the film, agents of the ‘Deep State’ and foreign forces are shown in good light. A British intelligence agent aids Lucifer, hinting at a “deep state” plot while a “Christian NATO” targets Hindus for supporting pro-Hindu parties.
Muslims are portrayed as “innocent,” like Zayed saving girls from trafficking, despite NCRB data showing Muslims, 14% of India’s population, made up 19% of prisoners in 2022—a statistic often debated in discussions of crime and communal bias.
Meanwhile, a character in a tricolour saree—symbolizing the Congress—gives a speech on democracy only to be arrested by the Enforcement Directorate (ED), a dig at real-world ED raids. It is another matter that the commie Prithviraj has shown the Congress too in bad light once again hammering that he’s a two-bit propagandist of the hammer-sickle party.
Cinematically, Empuraan is a disaster. Poorly edited, technically weak, and stretched beyond reason, its camera work is a mess, with random angles that add nothing. The hyped “OTT-quality shot” Prithviraj bragged about is nowhere to be seen—unless he meant the third-rate visuals that dominate the film. Mohanlal is sidelined, while Prithviraj’s Zayed hogs the spotlight, turning a supposed epic into a soapbox for ideological score-settling.
#Empuraan : Propaganda at its Best
A brilliantly made high budget action entertainer to vilify Hindus for their political leaning
SPOILERS AHEAD
P.S : Pics for this thread are taken from free internet portals#EmpuraanReview pic.twitter.com/b8NT7WwFB6
— Revenge mode (@Pora_Babu) March 27, 2025
Jana Gana Mana: A Masterclass In Hypocrisy And Anti-Hindu Bias
Prithviraj’s 2022 film Jana Gana Mana is another chapter in his anti-Hindu, anti-BJP crusade, cloaked as a socio-political thriller. The film claims to oppose discrimination, with a scene criticizing a textbook for injecting “the politics of color into the mind of a six-year-old.” Yet it casts a fair-skinned Prithviraj as the virtuous hero fighting for the “oppressed,” while the villain, a dark-skinned Tamil-speaking politician named Nageswara Rao, is steeped in Hindu religious symbols and heads the RJSP party—sporting saffron and RSS-ish flags, a clear jab at the BJP. Rao is the prime accused in the “Ramanagara Riots,” a fictional event that mirrors real-world communal tensions often blamed on the BJP by its critics.
The film’s villains are tellingly named—Raghuram Iyer (advocate representing the State), Shwetha Gupta (Chairperson of National Commission for Women), and a casteist professor, Vydarshan—surnames that scream “upper-caste Hindu identity”, while a “good” PhD guide, “Hamid sir”, is Muslim.
A student’s thesis on the “perpetuation of caste system in 21st century India” ends in her suicide, with the blame pinned on a “Central” university whose director, resembling Modi, ignores enquiry reports—a thinly veiled attack on the PM.
Every “good” character is either Muslim or a non-practicing Hindu, while “bad” characters flaunt Hindu symbols or symbols/colours associated with the RSS and BJP.
Real-world issues like demonetization (called “banning notes”) to fearmonger about the BJP “banning votes,” a baseless scare tactic aimed at Modi’s governance.
The film accuses politicians of using emotions to turn people into “bhakts,” a term weaponized by the left to mock Modi’s supporters, while ironically manipulating its audience with the same emotional tactics it decries.
The film is a masterclass on hypocrisy. It rails against “identity politics” but indulges in it shamelessly, portraying practicing Hindus as villains and Muslims as victims—a trope that fuels division while pretending to preach unity.
One of the most engaging but dishonest film is Jana Gana Mana, from Commiewood.
Infact the movie clearly states its political ideology and bigotry very clearly, including its emotional manipulation technique.
But alas, we were hooked to cinema and missed it all.
A thread. pic.twitter.com/VOVWBAui9B
— Tamil Labs 2.0 (@labstamil) April 6, 2024
Not Just In Reel, Prithviraj Peddles Anti-Development Propaganda In Real As Well Like A True-Red Communist
Prithviraj Sukumaran’s anti-development propaganda reeks of shameless opportunism, nowhere more evident than in his 2021 crusade against Lakshadweep’s administrative reforms—a pathetic attempt to undermine the Modi government’s vision for progress. He spun a web of lies about spending “quality time” with the “warm-hearted people of Lakshadweep” during the filming of Anarkali, claiming their support to fuel his opposition to infrastructure and tourism initiatives that could have transformed the islands from a backwater into an economic hub. In truth, the Anarkali crew faced outright hostility from locals, shattering his fabricated sob story. His sanctimonious plea for authorities to “listen to the voice of the people,” as part of the ‘Save Lakshadweep’ campaign, was nothing but a dog whistle to paint development as a cultural assault, conveniently ignoring how decades of neglect had left the islands stagnant. This isn’t concern—it’s sabotage, a cynical ploy by a self-righteous fraud who’d rather see India languish in underdevelopment than admit Modi’s reforms might actually work, all while he hides behind his hollow “progressive” facade.
Prithviraj Sukumaran peddled a narrative that propped up the Islamic country of Maldives by hyping it as a celebrity paradise in a 2021 Times of India feature, gushing about his family vacation there with his wife Supriya Menon and daughter Alankrita, conveniently ignoring India’s own coastal gems like Lakshadweep. This glowing endorsement, paired with his anti-development stance on Lakshadweep, subtly steered tourism dollars to the Maldives, a nation often at odds with India’s geopolitical interests, while undermining Modi’s push for domestic tourism growth.
Propagandist Prithviraj: A Fraud Masquerading As A Filmmaker
Prithviraj Sukumaran is two-bit commie fraud, peddling divisive fantasies that vilify Hindus, the BJP, and Modi while raking in crores from a starstruck audience. Empuraan and Jana Gana Mana aren’t films—they’re hit jobs on faith, plurality, and India’s cultural soul, part of a Malayalam cinema nexus including Kuruthi and The Great Indian Kitchen that peddles anti-Hindu bile under the guise of “progressive” art. His privilege as a film-family scion fuels this hypocrisy—he’s no underdog, just a pampered propagandist cashing in on division while cloaking his attacks in “fiction.” The BJP, which has lifted India from socialist mire, and Narendra Modi, a leader of grit, don’t need lectures from this smug hack. It’s time we stopped clapping for his trash and called him what he is: a sanctimonious peddler of hate, unworthy of the screen he pollutes.
Vallavaraayan is a political writer.
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