The trailer of The Taj Story, starring Paresh Rawal, has sparked a major social media debate over its alleged attempt to distort history through political and pseudo-historical propaganda. The film has quickly become a talking point online for all the wrong reasons.
Directed by Tushar Amrish Goel, the film unfolds as a courtroom drama. Paresh plays Vishnu Das, a local guide at the Taj Mahal who sets out to uncover what he claims is the “real” history of the monument.
While the trailer presents the film as a clash between faith and history, its core idea appears to revive the long-discredited Tejo Mahalaya Theory — the claim that the Taj Mahal was once a Shiva temple. Many viewers see this as an effort to rewrite history in the guise of entertainment.
The backlash was immediate. Social media users accused the film of spreading misinformation and disturbing communal harmony. Many called it a dangerous attempt to inject false narratives into public discourse through cinema.
Earlier, controversy had already erupted over the motion poster, which showed a Shiva idol emerging from the Taj Dome. The image positioned the film as a political provocation, despite the makers claiming it had no religious intent.
According to film critics, the trailer openly pushes a divisive agenda. They argue that the narrative is designed to fuel hyper-nationalist and religious sentiments rather than promote meaningful discussion or artistic expression.
Paresh Rawal also drew sharp reactions. Once admired for his performances in Hera Pheri, Oh My God, and other classics, he is now being accused of using his influence to endorse politically loaded storytelling that undermines his earlier reputation.
Social media users compared The Taj Story to The Kerala Story, calling it an even stronger piece of propaganda. Many said the film manipulates emotions under the banner of nationalism, similar to how earlier films pushed polarising narratives.
Commentators predicted that The Taj Story might meet the same fate as The Vaccine War, The Bengal Files, and Ajey — propaganda-driven films that failed to connect with the masses despite heavy promotion.
Viewers also questioned how the CBFC approved scenes that appear to incite communal tension while imposing strict cuts on other films. This selective approval has reignited debates on censorship and political bias in Indian cinema.
As The Taj Story approaches its release, it once again raises concerns about how mainstream cinema is being used to shape public opinion. Instead of reflecting society, films like this seem to be turning into tools for rewriting history and deepening social divides.
