Diwali 2025: Old vs. New Bollywood-  How Diwali Lost Its Emotional Spark on Screen

By Shantiswaroop Tripathi

Among all the festivals celebrated in India, Diwali holds immense practical, social, and religious significance. It is also called the Festival of Lights. The phrase “Tamaso Ma Jyotirgamaya” — “Lead me from darkness to light” — comes from the Upanishads and forms the spiritual foundation of this festival.

Diwali is celebrated not only by Hindus but also by Sikhs, Buddhists, and Jains. For Jains, it marks the day of Lord Mahavira’s Nirvana, while Sikhs observe it as Bandi Chhor Divas. Symbolizing purity and illumination, Diwali is also regarded as a festival of cleanliness.

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Weeks before the festival, people across India start preparations — cleaning and decorating their homes and shops, painting walls, and lighting up streets with golden buntings. Youth and adults together arrange the lights, and the festive spirit fills every corner.

Diwali is also a festival of joy and sharing happiness. People exchange gifts, sweets, and dry fruits, and celebrate together with family and friends over dinner and fireworks. Children light sparklers and hear mythological tales from their elders about the victory of good over evil and light over darkness. Women decorate floors and doorsteps with rangoli patterns, adding to the festival’s beauty.

However, with time, Diwali has gradually become a victim of modernity, Western influence, and commercialization — not just in society, but also in Indian cinema, where its meaning and depiction have visibly changed.

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Diwali in Early Indian Cinema

Indian cinema began in 1913, and its early years were dominated by religious and patriotic films. From the 1940s onwards, Diwali began to appear prominently in Hindi films — depicted through glowing lamps, rangolis, and fireworks that symbolized joy, prosperity, and unity. These scenes often highlighted family togetherness, worship, and the triumph of good over evil, reflecting deep-rooted Indian values.

One of the earliest films centered on the festival was “Diwali” (1940), directed by Jayant Desai and produced by Ranjit Movietone. Starring M. Bhagwandas, Motilal Rajvansh, and Madhuri, it was released on 19 October 1940, a day before Diwali that year. Though not entirely based on the festival, it carried social themes of that time — family, relationships, and moral dilemmas — and featured the memorable song “Jal Deepak Diwali Aayi”. Its release during Diwali created a strong emotional connection between real-life celebration and cinematic experience.

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Another significant film was “Rattan” (1944), directed by M. Sadiq and starring Swarn Lata and Karan Dewan. The film became one of the biggest hits of that year, largely due to the popular Diwali song “Aayi Diwali Aayi” sung by Zohrabai Ambalewali and composed by Naushad. The Diwali scene in the film symbolized the emotional reunion of two separated lovers, Govind and Gauri, whose love was forbidden due to caste barriers. Thus, Diwali served as both a backdrop for emotional expression and a reflection of social divisions of that era.

Later, in 1960, director S. Rajnikanth made a Telugu religious film titled “Deepavali” starring N.T. Rama Rao and Savitri.
In 1973, the iconic film “Zanjeer” directed by Prakash Mehra used Diwali as a turning point — the night when young Vijay Khanna witnesses his parents’ murder, and years later, avenges them on another Diwali night. Here, the festival symbolized both tragedy and justice.

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The 1994 Rajshri classic “Hum Aapke Hain Koun..!” portrayed Diwali as a moment of family celebration and joy. The famous “Dikhtana Dikhtana” song sequence showed the family united in festivities, representing harmony and happiness.

Mahesh Manjrekar’s “Vaastav: The Reality” (1999) presented a darker contrast — a gangster (Sanjay Dutt) visiting his family during Diwali, symbolizing inner turmoil amid outward festivity.

In Yash Chopra’s “Mohabbatein” (2000), the song “Pairon Mein Bandhan Hai” was set against Diwali celebrations, blending dance, light, and emotion.

Similarly, in K. Raghavendra Rao’s “Aamdani Atthanni Kharcha Rupaiya” (2001), the song “Aayi Hai Diwali Suno Ji Gharwali” captured familial warmth and festive cheer. Karan Johar’s “Kabhi Khushi Kabhie Gham” (2001) featured one of Bollywood’s most magnificent Diwali scenes — Jaya Bachchan waiting with an aarti plate to welcome her son (Shah Rukh Khan). It symbolized family reunion and the essence of togetherness.

Later, Aamir Khan’s “Taare Zameen Par” (2007) portrayed Diwali from a child’s perspective — showing Ishaan’s loneliness in a boarding school, contrasting the joy usually associated with the festival.

In Rohit Shetty’s “Golmaal 3” (2010), Diwali became a moment of comedy as the characters accidentally ignite a pile of fireworks.

The Modern Shift

In modern cinema, Diwali has often been reduced to a background element — a colorful backdrop rather than a central theme. Earlier, it carried emotional, cultural, and moral weight; now it is more of a visual spectacle.

This shift reflects commercialization and changing values. Festivals are often used to enhance glamour and visual appeal rather than to convey deeper meaning. Firecrackers are replaced by symbolic lighting, partly due to growing environmental awareness and legal restrictions on pollution.

Modernization and Western influence have further changed how Diwali is portrayed. Homemade sweets and family gatherings have been replaced by designer lights, gifts, and lavish parties. The emotional and spiritual depth has given way to consumerism and showmanship.

Traditional vs. Modern Representation

From the 1940s to the 1990s, Diwali scenes in films were vibrant, emotional, and family-oriented — symbolizing togetherness, moral victory, and reunion.
Now, Diwali often represents moral dilemmas and inner conflicts. For instance, Ajay Devgn’s film “Shaitan” used Diwali festivities as a sinister prelude to chaos and violence.

Earlier, the festival conveyed emotional appeal and traditional family values. Today, it is used to explore psychological depth, tension, and realism.

• In “Swades” (2004), the Diwali scene marked the protagonist’s spiritual awakening and reconnection with his roots.
• In “Taare Zameen Par” (2007), Diwali became a symbol of loneliness.
• In “Kadakh” (2019), directed by Rajat Kapoor, Diwali turned into a setting for deceit, infidelity, and even murder among Delhi’s elite — a stark contrast to its traditional essence.

The Role of Commercialization

With globalization and market-driven storytelling, festivals in films have become tools for consumption and branding. The emotional and cultural essence has been overshadowed by glamour and product placement. Big-budget Diwali scenes now highlight designer outfits, luxury gifts, and brand endorsements — catering to aspirational audiences rather than real-life traditions.

Even regional traditions have been simplified for cinematic appeal. For example, traditional devotional Garba songs during Navratri have been replaced by Bollywood dance numbers. Similarly, modern Diwali scenes often depict parties in clubs and malls instead of family worship at home.

This market-centric approach has made human relationships shallow and emotions less significant. Festivals, once shown as moments of unity and cultural harmony, are now often superficial displays of wealth and glamour.

The truth is that commercialization has transformed the depiction of Diwali and other Indian festivals in films into opportunities for entertainment and economic gain, diminishing their spiritual and cultural dignity. Modernity and consumerism have replaced emotional and communal aspects with materialism.

Yet, it is important to remember that while being mindful of commercial interests, filmmakers and audiences alike must also preserve the cultural heritage and joyful spirit of festivals like Diwali, ensuring that their essence — the victory of light over darkness — continues to shine through.