Bollywood remains the favourite whipping boy of the society at large. This is puzzling as it is disturbing. If it can be whipped or patted on its back on grounds of entertainment value, it would be debatable and quite another thing.

But looking at recent films like 'Black' and 'Black Friday', 'Rang De Basanti' and 'Lage Raho Munna Bhai', can anyone seriously mock their message? Is Bollywood all that bad, really?

As cinema itself has gone leaps and bounds especially in terms of technique and the manner in which the younger generation is making cinema, it is understood that the medium as well as the message have become bolder and at once more subtle. Bollywood has grown beyond obvious symbolism of the past, but that is a given.

Even some years back, Nana Patekar went all melodramatic in 'Krantiveer', pounding his own and the other fellow's hands and comparing the blood of both, ranting to know the difference. But one must understand the cinegoing public's psyche as well.

For one, this was before multiplexes happened to Indian cinema. And even post-multiplexes, the audience remain quite complex and largely unsophisticated -- even if that very segment has become hugely 'aware' of cinema, politics and other disciplines.

So, even if today we are still standing up cinema, or at least Bollywood, as just so much drivel, it is wrong and unjustified. Indian society being majorly identified and living by religious feelings, it is not the politicians but the moviemakers who are making a vast contribution to our society. And, in fact, showing up politicians for just what they really are.

If there is anything more uniting India from Kashmir to Kanyakumari, and from Bay of Bengal to the Arabian Sea, it is not the speeches of politicians but the dialogues in Bollywood films.

Bollywood has gone beyond all politics of identity and constantly claimed from the time of the Silent Era to Multiplexes that Indian culture belongs to all Indians, not matter what kind of film, what kind of budget and what kind of quality of filmmaking.

And it is best reflected in the one unifying living art form throughout India -- the song, the music. For which, too, Bollywood is know throughout the world, even at the Oscars.

In A. R. Rahman and Javed Akhtar's "Radha kaise na jale" from Lagaan and their "Pal pal hai bhaari..." from Swades or even in the much debated Vande Mataram by Rahman, speak for themselves -- though Rahman is a Hindu (Dilip) who converted to Islam.

Such incidents should set example for this unique country. The true Hindu also understands that majority of the Muslims do not believe in the exclusivist claims that their clergy propagates.

Whenever such thoughts disturb them, they should remember that the song "Mann tadpat Hari darshan ko aaj..." was composed and rendered by Muslims only!

In fact, that one song became a unique symbol of what India and Bollywood really are. Baiju Bawra is a film about an ordinary man taking revenge against the mighty Tansen, who was one of the 'Navratnas' of Akbar.

The music of the film is simply divine, and actually goes much beyond the Bharat Bhushan-Meena Kumari film itself. And in it is the 'climax' song: " Mann tadpat Hari darshan ko aaj", a bhakti song, devoted to both Hari and the protagonist's Guru. And it can any folk bhakti song in India's tradition a run for its money and devotion.

This supreme devotional song which reaches out to a Hindu God was written by Shakeel Badayuni, sung by Mohd Rafi and the music was given by Naushad. All three, Muslims, needless to add.

But it is also a song that defines Indian Culture in its true colours, as described in the Koran and the Gita, even in the Bible and the Guru Granth Sahib. This is in sharp contrast to the stereotype Muslim image propagated by the Muslim clergy when they asked Muslims not to sing 'Vande Mataram'.

Mother India was another such film, appreciated internationally and narrowly missed (by a solitary vote) an Oscar, too. The film was a strong portrayal of the archetypal Indian woman who faces all kinds of crises and raises her two sons against all odds.

But she can rise above all things mortal and maternal and remain unperturbed when shoot him to protect the honour of her village. The movie is a tribute to the women of India.

'Mother India' conveys this message through Nargis who gave a memorable performance. Some of the cast and crew associated with this movie were -- Nargis (actress), Mehboob Khan (director), Mohd Rafi and Shamshad Begum (singers), Naushad (music director) and Shakeel Badayuni (lyricist).

A galaxy of immensely talented Muslims put their talents and hearts into projecting the Mother on the silver screen. Who can ever forget "Holi aayee re Kanhai..." which is the best Holi-cultural song in all of history of Indian cinema.

Only matched perhaps by an India whose Prime Minister is a Sikh, the President a Muslim and the two ruling a nation of 80 per cent Hindus, as the latest release 'Namastey London', states!

Bollywood is not only a great entertainer, but a great religion and political party as well! So, 'Salaam Namastey' Bollywood! - (SAMPURN)