Javed Akhtar Defends Sardaar Ji 3. Photo Credit: bollywoodhungama
Veteran lyricist and poet Javed Akhtar has defended Sardaar Ji 3 amid mounting backlash over the casting of Pakistani actress Hania Aamir, stating that no Pakistani money is at stake, only Indian funds. He made the statement during an interview at a public event, emphasizing that the film was completed long before the recent tensions between India and Pakistan and that any financial implications would fall entirely on Indian producers.
Akhtar clarified that the casting decision for Hania Aamir was made in a different political climate and that the current controversy was based on misinterpretation. According to Bollywood Hangama, “The film was shot earlier. He didn’t know this would happen. No Pakistani money is at stake, only Indian money is,” Akhtar said, appealing to authorities and the public to separate art from politics.
The film has come under intense scrutiny following demands by the Federation of Western India Cine Employees (FWICE) to ban the film and sever all professional ties with Pakistani artists. Effigies of lead actor Diljit Dosanjh were burned in protests across parts of northern India, especially after the Pahalgam terror attack, which reignited nationalist sentiments.
The film’s production team has maintained that Sardaar Ji 3 was filmed before the recent incidents and confirmed that it will not release in Indian theatres. Instead, the film will have an overseas release. Producers from White Hill Studios issued a statement confirming they stand with India and expressed regret over the domestic non-release.
Renowned director Imtiaz Ali, who worked with Diljit Dosanjh in Amar Singh Chamkila, also came to Dosanjh’s defense, calling him “a proud Indian.” He highlighted that Dosanjh has always represented India with dignity and has consistently performed at global stages with the tricolour.
In his own comments, Diljit Dosanjh reiterated that the film was completed well before the tragic Pahalgam attack and expressed disappointment over the lost opportunity for an Indian theatrical release. He acknowledged that the decision to cast Hania Aamir was made purely on creative grounds and under different political circumstances.
Amid the row, producers emphasized that no future films would involve Pakistani artists, respecting public sentiment and evolving industry guidelines. They also clarified that no Pakistani investors were involved in the financing or production of Sardaar Ji 3, which was entirely bankrolled by Indian entities.
This controversy has sparked broader debates around the intersection of cinema and geopolitics, with voices like Akhtar urging restraint and sensitivity. He suggested that films shot under peaceful conditions should not be judged by subsequent political events, and that blanket bans can damage India’s creative and economic interests.
The Central Board of Film Certification (CBFC) has not officially intervened, but industry insiders expect new guidelines or advisories for filmmakers considering cross-border collaborations. Trade analysts suggest that the overseas market may still be strong for Sardaar Ji 3, given Dosanjh’s global fan base.
The controversy continues to stir polarised reactions on social media, with some supporting artistic freedom and others demanding stricter national guidelines on cross-border participation.
As Sardaar Ji 3 prepares for its international release, the conversation around art, identity, and national loyalty intensifies—raising vital questions about where creative freedom ends and public accountability begins.
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