The Indian cinematic morality, which was often equated to black-and-white binaries over the years, has seen the rise of anti-heroes. The canvas, which was historically painted with squeaky-clean protagonists who stood for virtue alone, has seen a great evolution. The audience no longer worships the stereotypical hero; they now have developed an appetite for morally ambiguous characters, flawed protagonists, complexities, and chaos.
Though the phenomenon of anti-heroes taking center stage is not new, in recent years, this trend has been widely and openly embraced.
What is an anti-hero? A rebellious archetype
An anti-hero is a main character who does not possess the typical quintessential qualities associated with heroes. Ethics, idealism, or a selfless nature are not strong suits. An anti-hero is a more flawed character who is not selfless, exhibits violent behavior, seeks revenge, or operates within a morally ambiguous framework.
However, these imperfections make him more authentic and relatable; they make them more human.
Traditionally, Indian cinema has revered idealistic heroes, but with changing societal narratives and a global exposure to complex storytelling, the Indian audience has begun to embrace imperfection.
A Journey Through Decades
The seeds of anti-heroism in Bollywood can be traced back to the 1970s with Amitabh Bachchan’s ‘Angry Young Man’ roles. Films like ‘Deewaar’ (1975) showcased protagonists who broke the law not out of malice but as a reaction to systemic failure.
By the 1990s and early 2000s, Hindi cinema flirted more openly with morally ambiguous leads. Take ‘Satya’ (1998) or ‘Company’ (2002)—films that didn’t shy away from showing crime as a product of society’s rot.
And now, when you fast-forward to the recent years, Ranbir Kapoor in ‘Animal,’ Shahid Kapoor in ‘Kabir Singh,’ and Allu Arjun in ‘Pushpa,’ these actors and their characters broke the stereotypical image of a lead hero. Of course their characters were controversial, and there is a fraction of society who doesn’t agree with them. However, if you look at the broader picture, the box office collections and statistics, overall, the audience has both accepted and appreciated their portrayal.
To have a better understanding of this growing trend, we connected with filmmaker Madhur Bhandakar, who, with movies like, ‘Fashion,’ Heroine,’ and more, gave the audience a taste of perfectly balanced gray-shaded characters.
“A film like ‘Animal’ sparked polarizing reactions, but the character was still impactful. Personally, I watch films as a story, not from a moral or societal lens. Whether it’s ‘Pushpa’, ‘The Godfather’, or ‘Satya’, the flawed, morally ambiguous leads still command empathy. Despite their violent or unethical actions, people connect with them. Characters like Michael Corleone from ‘The Godfather’, Allu Arjun’s Pushpa, or Bhiku Mhatre from ‘Satya’—these men are killers, smugglers, gangsters—but when they fall or die, the audience genuinely feels a loss. That's because of how strongly they’re written and portrayed,” he stated.
‘It feels real’
Weighing in on the matter, ‘UT 69’ director Shahnawaz Ali, in an exclusive discussion with us shared, “It feels real when your main protagonist has flaws in it. The hero doesn't have to be perfect, he doesn't have to be right in everything, he doesn't have to be the strongest, and he doesn't have to be someone who breaks down and carries the weight of the world on their shoulder. That era is gone. People have no accepted now more flawed characters because they can relate to them, as just like them these characters struggle.”
“This is the reason writers have started writing more flawed characters. Protagonists were earlier expected to do things by the book, and now when they don't people can see themselves in them. They know they did what the did at the point of time because they had to. It doesn't make them a bad guy,” he added.
Actors are embracing the change as well
Speaking on the rise of anti-heroes, the renowned filmmakers shared, “‘Actors, too, are embracing these roles. They no longer feel the pressure to always play likeable or ideal characters. Instead, they’re drawn to characters with substance—those who challenge norms and have more depth.”
He continued, “Actors themselves get bored of always playing the “good guy.” Many films, including ‘Fashion’, have featured characters with grey shades. While these characters have their flaws, there’s often an element of repentance or remorse—something deeply rooted in Indian sentiment. However, even that might be changing. Where earlier, stories had to show regret, now audiences might accept a character who does something controversial and owns it without apology”
"Vinod Khanna and Shatrughan Sinha started their careers with negative or morally ambiguous roles"
Acknowledging that the presence of a flawed lead has been a part of Indian cinema for years, he added, “Even in earlier decades, this trend existed. Shah Rukh Khan’s roles in ‘Baazigar’ and ‘Darr’ were grey or anti-hero, yet audiences loved them. Similarly, actors like Vinod Khanna and Shatrughan Sinha started their careers with negative or morally ambiguous roles and still became iconic stars.”
“There’s a long history of audiences appreciating these characters, even if they didn’t overtly root for them. As people are now more exposed to global cinema from the comfort of their homes, the circle of acceptance has expanded. In the last 8–10 years, especially with the rise of OTT platforms, we’ve seen a significant change. Most web series feature protagonists who are not perfect—they may be jealous, envious, or toxic, yet they’re compelling.”
OTT and acceptanceIn our discussion, he highlighted how OTT has played a pivotal role in the evolution. “This shift has been especially noticeable post-OTT boom and during the pandemic when people consumed a lot more content. Stories featuring crime, violence, and morally ambiguous leads became more popular. Audiences started enjoying narratives where the protagonist isn’t a typical good guy but someone deeply flawed. This phase has continued and even grown stronger, with people now rooting for toxic characters and complex personalities,” he shared.
It is worth noting that, freed from the shackles of censor boards and box office compulsions, filmmakers have pushed boundaries and explored darker, nuanced characters. Shows like ‘Sacred Games,’ ‘Mirzapur,’ and ‘Paatal Lok’ have introduced audiences to protagonists who are raw, gritty, and far from ideal.
Madhur Bhandarkar further stated that if he would have made few of his films in today’s time, the climax would have been different. “Take ‘Heroine’, for example. The character Mahi Arora chooses to disappear from the limelight after realizing the toxicity of her fame. But if the film were made today, maybe she wouldn’t disappear. Maybe she'd release an MMS scandal for publicity and become successful with no regret—and audiences might still cheer for her.”
Embracing the Grey
In a world that feels increasingly chaotic and unjust, anti-heroes offer a powerful fantasy—of taking control, of fighting back, of embracing flaws. They may not wear capes, but they carry the weight of truth—raw, uncomfortable, and refreshingly real.
As Indian cinema continues to evolve, one thing is clear: the era of the spotless hero is over. The anti-hero has arrived, not to save the day—but to make us question what saving the day even means.
“At the end of the day, people connect with good storytelling and layered characters. Whether it's regretful anti-heroes of the past or unapologetically toxic leads of today, these roles reflect human depth—and audiences are here for it,” concluded Madhur Bhandarkar.
Though the phenomenon of anti-heroes taking center stage is not new, in recent years, this trend has been widely and openly embraced.
What is an anti-hero? A rebellious archetype
An anti-hero is a main character who does not possess the typical quintessential qualities associated with heroes. Ethics, idealism, or a selfless nature are not strong suits. An anti-hero is a more flawed character who is not selfless, exhibits violent behavior, seeks revenge, or operates within a morally ambiguous framework.
However, these imperfections make him more authentic and relatable; they make them more human.
Traditionally, Indian cinema has revered idealistic heroes, but with changing societal narratives and a global exposure to complex storytelling, the Indian audience has begun to embrace imperfection.
A Journey Through Decades
The seeds of anti-heroism in Bollywood can be traced back to the 1970s with Amitabh Bachchan’s ‘Angry Young Man’ roles. Films like ‘Deewaar’ (1975) showcased protagonists who broke the law not out of malice but as a reaction to systemic failure.
By the 1990s and early 2000s, Hindi cinema flirted more openly with morally ambiguous leads. Take ‘Satya’ (1998) or ‘Company’ (2002)—films that didn’t shy away from showing crime as a product of society’s rot.
And now, when you fast-forward to the recent years, Ranbir Kapoor in ‘Animal,’ Shahid Kapoor in ‘Kabir Singh,’ and Allu Arjun in ‘Pushpa,’ these actors and their characters broke the stereotypical image of a lead hero. Of course their characters were controversial, and there is a fraction of society who doesn’t agree with them. However, if you look at the broader picture, the box office collections and statistics, overall, the audience has both accepted and appreciated their portrayal.
To have a better understanding of this growing trend, we connected with filmmaker Madhur Bhandakar, who, with movies like, ‘Fashion,’ Heroine,’ and more, gave the audience a taste of perfectly balanced gray-shaded characters.
“A film like ‘Animal’ sparked polarizing reactions, but the character was still impactful. Personally, I watch films as a story, not from a moral or societal lens. Whether it’s ‘Pushpa’, ‘The Godfather’, or ‘Satya’, the flawed, morally ambiguous leads still command empathy. Despite their violent or unethical actions, people connect with them. Characters like Michael Corleone from ‘The Godfather’, Allu Arjun’s Pushpa, or Bhiku Mhatre from ‘Satya’—these men are killers, smugglers, gangsters—but when they fall or die, the audience genuinely feels a loss. That's because of how strongly they’re written and portrayed,” he stated.
‘It feels real’
Weighing in on the matter, ‘UT 69’ director Shahnawaz Ali, in an exclusive discussion with us shared, “It feels real when your main protagonist has flaws in it. The hero doesn't have to be perfect, he doesn't have to be right in everything, he doesn't have to be the strongest, and he doesn't have to be someone who breaks down and carries the weight of the world on their shoulder. That era is gone. People have no accepted now more flawed characters because they can relate to them, as just like them these characters struggle.”
“This is the reason writers have started writing more flawed characters. Protagonists were earlier expected to do things by the book, and now when they don't people can see themselves in them. They know they did what the did at the point of time because they had to. It doesn't make them a bad guy,” he added.
Actors are embracing the change as well
Speaking on the rise of anti-heroes, the renowned filmmakers shared, “‘Actors, too, are embracing these roles. They no longer feel the pressure to always play likeable or ideal characters. Instead, they’re drawn to characters with substance—those who challenge norms and have more depth.”
He continued, “Actors themselves get bored of always playing the “good guy.” Many films, including ‘Fashion’, have featured characters with grey shades. While these characters have their flaws, there’s often an element of repentance or remorse—something deeply rooted in Indian sentiment. However, even that might be changing. Where earlier, stories had to show regret, now audiences might accept a character who does something controversial and owns it without apology”
"Vinod Khanna and Shatrughan Sinha started their careers with negative or morally ambiguous roles"
Acknowledging that the presence of a flawed lead has been a part of Indian cinema for years, he added, “Even in earlier decades, this trend existed. Shah Rukh Khan’s roles in ‘Baazigar’ and ‘Darr’ were grey or anti-hero, yet audiences loved them. Similarly, actors like Vinod Khanna and Shatrughan Sinha started their careers with negative or morally ambiguous roles and still became iconic stars.”
“There’s a long history of audiences appreciating these characters, even if they didn’t overtly root for them. As people are now more exposed to global cinema from the comfort of their homes, the circle of acceptance has expanded. In the last 8–10 years, especially with the rise of OTT platforms, we’ve seen a significant change. Most web series feature protagonists who are not perfect—they may be jealous, envious, or toxic, yet they’re compelling.”
OTT and acceptanceIn our discussion, he highlighted how OTT has played a pivotal role in the evolution. “This shift has been especially noticeable post-OTT boom and during the pandemic when people consumed a lot more content. Stories featuring crime, violence, and morally ambiguous leads became more popular. Audiences started enjoying narratives where the protagonist isn’t a typical good guy but someone deeply flawed. This phase has continued and even grown stronger, with people now rooting for toxic characters and complex personalities,” he shared.
It is worth noting that, freed from the shackles of censor boards and box office compulsions, filmmakers have pushed boundaries and explored darker, nuanced characters. Shows like ‘Sacred Games,’ ‘Mirzapur,’ and ‘Paatal Lok’ have introduced audiences to protagonists who are raw, gritty, and far from ideal.
Madhur Bhandarkar further stated that if he would have made few of his films in today’s time, the climax would have been different. “Take ‘Heroine’, for example. The character Mahi Arora chooses to disappear from the limelight after realizing the toxicity of her fame. But if the film were made today, maybe she wouldn’t disappear. Maybe she'd release an MMS scandal for publicity and become successful with no regret—and audiences might still cheer for her.”
Embracing the Grey
In a world that feels increasingly chaotic and unjust, anti-heroes offer a powerful fantasy—of taking control, of fighting back, of embracing flaws. They may not wear capes, but they carry the weight of truth—raw, uncomfortable, and refreshingly real.
As Indian cinema continues to evolve, one thing is clear: the era of the spotless hero is over. The anti-hero has arrived, not to save the day—but to make us question what saving the day even means.
“At the end of the day, people connect with good storytelling and layered characters. Whether it's regretful anti-heroes of the past or unapologetically toxic leads of today, these roles reflect human depth—and audiences are here for it,” concluded Madhur Bhandarkar.
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