From ‘Baazigar’ to ‘Animal’ : How Indian cinema’s 'Good Boy' image got a dark makeover

There was a time in Indian cinema when moral lines were sharply drawn—heroes were paragons of virtue, and villains carried the burden of every societal ill. The storytelling was simple, almost mythical: good defeated evil, and righteousness was always rewarded. But as India evolved socially, politically, and culturally, so did its cinema. Today, the hero no longer wears white, and audiences don’t seem to mind.Traditionally, the Hindi film hero was the embodiment of idealism. He fought for justice, respected women, and often sang songs in mustard fields or rainy Mumbai lanes. The villain, in stark contrast, smoked cigars, eyed the heroine with bad intent, and laughed menacingly in marble mansions.But the moral binary began to blur in the 1990s. The shift was subtle but significant. Shah Rukh Khan, then a rising star, played a stalker in Darr (1993), a cold-blooded murderer in Baazigar (1993), and a charming but emotionally manipulative man in Kuch Kuch Hota Hai (1998). These characters, while deeply flawed, were laced with vulnerability and charisma. Instead of rejecting them, audiences embraced them.Why? Because the characters mirrored the contradictions of real life.This evolution continued into the 2000s and beyond, giving birth to the full-fledged anti-hero. In Agneepath (1990), Amitabh Bachchan’s Vijay was not a textbook good guy—he was angry, vengeful, and willing to embrace violence to achieve justice. This gritty complexity became a blueprint for future protagonists.The transformation reached new heights with films like Pushpa, KGF, Animal, and shows like The Fame Game. Ranbir Kapoor’s Animal shocked many with its violent, emotionally chaotic central character—yet it became one of the biggest hits of the year. Yash’s portrayal of Rocky in KGF was brutal and unapologetic, but fans hailed him as a messiah. Allu Arjun’s Pushpa celebrated a smuggler with swagger, and Shah Rukh Khan's Pathaan gave us a vigilante draped in patriotism, willing to cross lines for his mission.In Madhuri Dixit’s The Fame Game, a once-idolised superstar is revealed to have complex personal demons. The heroine, like her male counterparts, now had the liberty to be flawed—and fascinating.The rise of social media and promotional platforms added another layer to this phenomenon. Stars now communicate directly with their audiences. This constant engagement has made fans feel intimately connected to actors—not just their roles.So, when a beloved actor plays a morally grey character, fans are able to separate the star from the role. In fact, many fans root for the character because their favourite is playing it. The charisma of the actor often overshadows the character’s choices.It’s no longer about right or wrong—it’s about loyalty, charisma, and style.Speaking about 'Kuch Kuch Hota Hain' and its gender politics, both Kajol and Karan Johar have reflected on the film’s intent and impact. During a conversation with The Lallantop, Kajol admitted, “We made that film only for entertainment... If we make KKHH today, we would be laughed out.” She pointed out how the idea of valuing a girl only after she conforms to traditional femininity wouldn’t hold up today. “That tomboy cut would probably be part of the second half… it would be the opposite now.”Karan Johar, too, recently admitted, “I wrote all this. I did not realize at that time that I was promoting a particular ideology. I just wanted to make a blockbuster.” Acknowledging the evolution of social and gender consciousness, he added, “We have to get our politics right… you can do all these things [entertainment] without wrong gender politics.”The 2000s and 2010s saw the full-fledged rise of the anti-hero. Characters like Vijay in Agneepath, Rocky in KGF, and Pushpa in Pushpa: The Rise were angry, aggressive, and morally ambiguous—but they were loved, even celebrated. Ranbir Kapoor’s deeply violent and emotionally chaotic lead in Animal became one of the year’s biggest box-office successes. Allu Arjun’s Pushpa, a red sandalwood smuggler with unmatched swag, won hearts across India.The growing acceptance of anti-heroes and morally ambiguous protagonists also mirrors a changing society—one that recognises that life isn't black and white. We are living in times of political unrest, emotional turbulence, and existential questioning. The modern viewer craves complexity. We understand now that the “good guy” can make bad choices, and the “bad guy” may have good reasons.ETimes spoke to Jyoti Krishna, the 'Hari Hara Veera Mallu' director and he said, "Audiences are often drawn to characters with a dark side, right? That’s because every person has both good and bad within them. There’s something intriguing about the bad—we usually hide it behind a polished exterior, but it still exists within us. So, when we see a character on screen doing what we might never do ourselves, it fascinates us. We connect with that.But in ‘Hari Hara Veera Mallu’, the character isn’t a typical villain. He’s not a bad guy. At first, he might come across as a thief—a Robin Hood type—but as the story unfolds, you realise he’s actually a protector of Dharma. That’s the journey we’re showing in the film.”Director Sukumar, who helmed 'pushpa', once addressed the backlash over the film allegedly promoting criminal behaviour. “Calling my film anti-national or accusing it of provoking youth is the most troubling statement anyone can make against me,” he said. “I create films to entertain… if my three-hour film keeps people in theaters, then crime rates will actually go down.”In this shift lies a deeper truth: Indian cinema has matured. It no longer exists in a moral vacuum. The hero can lie, kill, cheat, and still be loved—because we’ve all known heroes in our lives who’ve done the same.