Once upon a time, a Bollywood masala film was said to be incomplete without its dreaded villain, one who smoked cigars all the while kidnapping heroines and throwing the evil lines that etched themselves forever into pop-cultural history. Think Mogambo, with Amrish Puri in the lead, terrible Gabbar Singh by Amjad Khan, or the debonair baddie Bad Man by Gulshan Grover. These villains defined an era by themselves and often even bigger in impact than the hero.
And then the change was ushered in. Indian cinema, between the early 2000s and mid-2010s, saw a slew of changes. In these new-age films, Villains softened, maybe they were half-white characters ‘misunderstood‘, or just lesser given importance by the script. They gave way to romantic comedies, ensemble dramas, and heroes-centric narratives. The baddie stopped being the backbone of the story. But now, something’s shifted again.
Enter the New-Age Villain
In recent years, we’ve seen the resurgence of villains in a big way. Not just as cardboard-cutout baddies, but as complex, charismatic, and sometimes even seductive characters that drive the narrative. Films like Animal, Pathaan, Jawan, and Andhadhun have brought back antagonists with depth, style, and menace. Suddenly, being the bad guy is cool again.
In Animal, Ranbir Kapoor’s protagonist is himself an anti-hero—violent, unpredictable, and emotionally scarred. But Bobby Deol’s almost wordless presence as the antagonist stole the show, with fans calling for more screen time. In Jawan, Shah Rukh Khan juggles roles as both savior and threat, playing on the fine line between vigilante and villain. It’s no longer just about good vs evil—it’s about why someone is evil.
The Psychology of the Modern Villain
Today’s villains aren’t mustache-twirling caricatures. They’re layered, emotionally broken, and often victims of circumstances. Think Tabu in Drishyam, or Nawazuddin Siddiqui in Raman Raghav 2.0. Even in mainstream cinema, there’s more nuance. These characters reflect societal fractures, personal trauma, and moral ambiguity.
This mirrors global pop culture trends. Look at how Western media treats villains now—Thanos, Joker, or even Joe Goldberg in You. Bollywood, too, is catching up to the idea that villains are people first, and monsters second.
Why This Shift Matters
Audiences today crave more than black-and-white storytelling. As cinema evolves, so do our expectations. The hero can’t just be “good” for the sake of it. We want moral dilemmas, inner conflict, and narratives that challenge us.
Villains offer a mirror. They ask uncomfortable questions: What would you do in their place? What made them this way? Would we root for them if the camera had been on them all along?
This return of well-written villains signifies a maturity in the way Indian cinema is evolving—especially in this post-OTT, globally connected Bollywood era.
Nostalgia Meets Reinvention
Interestingly, while the new villain is more layered, there’s also a conscious nod to the past. Whether it’s the reappearance of old-school actors like Sanjay Dutt in K.G.F. and Shamshera or the theatrical flair of Vijay Sethupathi in Jawan, modern cinema is blending nostalgia with reinvention.
There’s also a resurgence in stylized villain entrances, punchlines, and BGM-heavy moments—something that defined the classic Bollywood era. This isn’t just a storytelling shift; it’s also a cultural comeback.
What’s Next?
With upcoming films teasing dark characters, morally ambiguous leads, and grey-on-grey conflict (Bhool Bhulaiyaa 3, Pushpa 2, Don 3), it’s safe to say the villain is not only back—but thriving.
As the lines blur between good and bad, the future of Bollywood looks thrillingly unpredictable. And if this trend continues, we may just be entering a new golden Bollywood era—one where villains are not just necessary, but unforgettable.