Naseeruddin Shah Says His Post Supporting Diljit Dosanjh Photo Credit: HT
Veteran actor Naseeruddin Shah has clarified that his Facebook post supporting Diljit Dosanjh—during the ongoing controversy surrounding Sardaar Ji 3—was not deleted by him, but taken down by Facebook, as reported in the Hindustan Times. Amid growing online outrage and mixed reactions from the film fraternity, Shah has made it clear that he stands by his words and has no intention of issuing a clarification or apology.
Shah’s Stand on the Deleted Post
On June 30, Shah had posted a statement defending Diljit Dosanjh, pointing out that the actor was unfairly targeted over the casting of Pakistani actress Hania Aamir in the film Sardaar Ji 3. In his post, Shah criticised what he called the “dirty tricks department of the Jumla Party,” suggesting that the outrage was politically motivated. By July 1, the post was no longer visible on his timeline, sparking speculation.
In a recent statement, Shah explained that the post had been removed by Facebook, not by him. He also asserted that he would not back down from what he wrote, adding, “If this is taken to be a justification of my Facebook post, so be it. But the fact is, I need to justify nothing. I said whatever I had to say and I stand by it. Nor am I discouraged by the lack of support from the film industry.”
Facing Online Backlash
Shah’s post had drawn sharp criticism from right-wing trolls who accused him of being “anti-national” and even asked him to “go to Pakistan.” In response, Shah posted a defiant quote from Urdu poet Jigar Moradabadi, reiterating his stance and mocking those who questioned his patriotism.
“I received a fair amount of abuse and the usual ‘Go to Pakistan’ routine,” Shah said. “To those who objected, my response is best summarised in the lines of Jigar: ‘Pakistan nahin ab kabristaan bhejo, lekin bhejne waalon se ek sawaal toh poochho, kaunsa mulk hai woh jahan nafrat ka bolbaala hai aur mohabbat ilzaam?’”
The Sardaar Ji 3 Controversy
The controversy around Sardaar Ji 3 stems from its casting of Pakistani actress Hania Aamir. Amid rising tensions following the Pahalgam terror attack and India’s Operation Sindoor, several film unions, including the Federation of Western India Cine Employees (FWICE), protested the release of the film and called for a boycott of Diljit Dosanjh.
While the film faced a ban in India, Dosanjh was later granted permission to complete his shoot for Border 2—indicating a selective rollback of the industry’s earlier hardline stance. Despite this, very few in Bollywood publicly supported him, making Shah’s post all the more significant.
A Lone Voice in the Industry?
Shah noted that he wasn’t surprised by the lack of support from within the industry. “They all either have too much to lose or they disagree,” he remarked, subtly critiquing Bollywood’s culture of silence. His remark has reignited conversations about freedom of expression and the reluctance of major stars to take a political stand.
Shah’s history of speaking his mind—on topics ranging from nationalism to religious intolerance—has often put him at odds with mainstream political narratives. Yet he remains one of the few voices in Indian cinema who consistently challenges dominant discourse, regardless of personal or professional risk.
The Bigger Picture
Shah’s remarks are a reminder of the shrinking space for dissent in the cultural space. His defense of Diljit Dosanjh is not just about an actor—it is about the right of artists to collaborate, express, and create freely without fear of political or public reprisal.
His firm refusal to apologise reflects a growing frustration among independent voices who feel abandoned by their peers when controversy strikes. It also raises concerns about corporate censorship on platforms like Facebook, and how they impact public discourse.
What’s Next?
With his post still down and trolls continuing to target him online, Shah appears unfazed. For Diljit Dosanjh, who remains under scrutiny from several quarters, the support from a senior artist like Shah is both symbolic and timely. It also signals a need for deeper reflection within the Indian film industry on where it stands—between patriotism and prejudice, and between silence and solidarity.
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