Lucky Bisht EXPOSES Ranveer Singh’s Dhurandhar
In a recent podcast segment, former Research and Analysis Wing (RAW) agent Lucky Bisht provided a stark reality check on the glamorous world of espionage as depicted in Bollywood films. Alongside a co-guest, an actress who discussed her transition from modeling to cinema, Bisht delivered a scathing critique of everything from romanticized spy thrillers to the internal politics and diminishing quality of storytelling within the Hindi film industry.
🔪 Mission First: The Myth of the Spy Romance
One of Bisht’s most critical points was the sheer impossibility of the spy romance often celebrated in films like Ek Tha Tiger. According to him, the notion of an Indian spy falling in love with an agent from a rival nation, such as Pakistan, is a dangerous fantasy.
“If I were to fall in love with a Pakistani agent, my agency would shoot me out first,” Bisht stated emphatically. “And they should. Behind me is my country, my organization. Would I destroy my nation for a girl?”
He stressed that a real spy’s life is defined by tight mission timelines, not romantic detours. There is often barely enough time for a full night’s sleep, let alone an emotional entanglement. He concludes that such plots exist only in the realm of fiction, serving as entertaining cinema but bearing no resemblance to the cold, hard realities of intelligence work.
🚗 The Action Disconnect: Where Fiction Betrays Reality
Bisht further challenged the portrayal of Indian spies as “one-man armies” capable of single-handedly taking down global threats, as seen in blockbuster franchises like Pathaan or Jawan. He argues that if one individual could accomplish everything, there would be no need for massive, complex intelligence agencies.
His critique extended specifically to films that claim to be “inspired by true events,” using the example of a film (likely Dhurandhar) whose teaser showed a spy dragging an individual behind a vehicle on a road in Pakistan. Bisht questioned how filmmakers could use such an obviously unrealistic visual and still insist the story is based on true events. “You are removing people’s faith in the real things,” he lamented, arguing that this practice blurs the line between cinema and reality in a misleading way.
On the other hand, Bisht mentioned that he is currently pursuing a project on a real-life hero: Gabbar Singh Negi, a 16-year-old soldier who was awarded the Victoria Cross, highlighting his commitment to bringing authentic, untold stories of courage to the screen.
✍️ Bollywood’s Internal Script Crisis
The core of Bisht’s frustration lies in what he perceives as a profound crisis in Bollywood’s creative process, stemming from internal politics and a lack of respect for genuine writing.
The Ego of the Star
Bisht recounted a personal incident where a “big star” liked a script of his that featured the star in a negative role. However, the actor demanded a radical change: the removal of the main heroic lead so that the star could monopolize the action and screen time, effectively becoming both the villain and the hero.
Bisht sees this as a symptom of an industry where ego reigns supreme, often at the cost of the story. “Even two real brothers in this industry will want to be the one true hero,” he noted.
Inauthentic and Disrespectful Writing
Bisht was particularly critical of modern screenwriters, who he claims write scripts based on Google searches and ideas formed in “air-conditioned rooms” without any real-world experience or deep research. This leads to weak, unmemorable cinema that audiences cannot “watch twice.”
He contrasted this with the classic films written by dedicated writers who spend years perfecting their craft. He criticized the lack of respect shown to writers, noting that a star can casually demand a dialogue change in five minutes, undermining the one to two years of work put in by the original writer.
The Gatekeepers
Adding to the creative paralysis is the presence of inexperienced gatekeepers—namely, young coordinators and casting directors. Bisht argued that these individuals, often failed actors themselves, lack the expertise to judge the quality of a script or the suitability of a trained performer. “A 22 or 25-year-old coordinator decides that you are not fit for this character,” he said, highlighting the tragedy of trained, theatrical actors being judged by those with less experience.
🎬 A Glimpse Behind the Lens
The conversation also included the journey of the co-guest, detailing her transition from a successful small-town model and show-stopper to an actress. She shared her experience of moving to Mumbai, training through theatre classes to learn character work, and landing roles in prominent projects like:
- The film Raksha Bandhan alongside Akshay Kumar.
- The web series Breathe opposite Abhishek Bachchan.
- Her debut South film, Prema Gheema Thassadiya, as the lead.
💡 The Verdict: A Call for Authenticity
Ultimately, Lucky Bisht’s interview serves as a profound call for authenticity and integrity in Indian cinema. He believes that the industry is faltering because it often prioritizes star power and commercialized fiction over realistic, well-researched, and originally crafted stories. For Bollywood to regain its past glory, Bisht suggests, it must turn away from a shallow “herd mentality” and begin respecting the true art of storytelling and the dedicated professionals who create it.
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