Viral & Vulgar: Film Songs Are Going Too Far

She quickly distanced herself, claimed she had been misled about the lyrics, especially in Hindi. She alleged she had relied on the filmmaker to translate it for her and it didn’t seem objectionable. “I urge the audience to hold the filmmakers and people who create such content accountable,” she said.

Who is accountable?

Singer and songwriter Neelesh Misra asks, do lyric writers, singers, directors, choreographers feel they have a social responsibility of any kind? “There is a direct link between vulgar lyrics and inappropriate behaviour. When young men sing these songs outside girls’ colleges, or addressing passing women, they are actually doing sexual harassment. We need to address this nonsense that is being done in the name of freedom of speech and expression,” he says. Some voices, however, are far more direct in calling out what they see as a growing problem.

Cinematographer Fowzia Fathima calls songs like Sarke Chunar “guilt-free pornography for personal consumption on mobile phones.” “It is a question the whole team needs to ask, including the lead actor. ‘Do I want these lines and moves picturised on me..., is this how I want to sell myself to my fan base?’”, she says.

Audience accepts it

The general industry consensus remains that the audience enjoys it. For actors, these songs are also seen as a space for visibility. Samantha, who turned heads in Oo Antava from Pushpa: The Rise, said her decision to do the song was to break away from playing safe. Tamannaah, known for songs with suggestive moves such as Gafoor from Bads of Bollywood, to Aaj Ki Raat in Stree 2 and Nasha from Raid 2, said the film may be forgotten but the song is remembered!

Not long ago, Nora herself, who has headlined songs such as Dilbar and Saki Saki, said she always tried to balance her dance numbers without being objectified. “I feel liberalised as a woman performer who is comfortable with her sexuality and is not being objectified.”

Farah Khan, who choreographed Sheila Ki Jawani from Tees Maar Khan, had framed the popularity of the song as entertainment. Scam 1992 actor Shreya Dhanwanthary says it has been the case since forever. “Choli ke peeche and all that? While I’m all for freedom of any form of creative expression, but I do wonder sometimes if we should carry some form of responsibility…”

Others within the system argue that the demand itself drives the supply.

“It is how you perceive it,” says a popular choreographer on condition of anonymity. “We are asked to create a number that causes dhamaka. Usually the heroine chosen for it is someone who is the embodiment of male fantasy. They willingly do these songs, well aware that it would generate more buzz than their films. If there was no demand for these, why would we create it.”

Fowzia says the mindset that these songs are what will bring in the virality, and if that’s what the industry is betting on, makes one question cinema itself.

It’s everywhere

The trend is not limited to one industry or one language—it cuts across the board. Badshah’s recent Tateeree drew flak for its objectionable and vulgar lyrics, while Honey Singh’s recent album Millionaire faced scrutiny for misogynistic and derogatory lyrics. Even numbers such as Boss Party from Waltair Veerayya featuring Chiranjeevi, and Nandamuri Balakrishna’s songs from Veera Simha Reddy and Bhagavanth Kesari, have leaned heavily on loud, suggestive choreography.

Eminent lyricists on rising crassness in film songs

I am not very familiar with today’s writing styles. But those of us from the old school were clear about certain aesthetics — no vulgarity, no double meanings, no denigrating individuals or communities. Times have changed, and now the aim often seems to be to attract attention by any means.” — Gulzar

I’ve read the lyrics of Sarke Chunar Teri Sarke from KD: The Devil. It is not just borderline porn — it has crossed all limits of decency by miles. I have always been particular about my lyrics. In fact, I even declined Kuch Kuch Hota Hai because the title itself made me uncomfortable.” — Javed Akhtar

I feel sad. This isn’t about morality alone — the growing hyper-masculine tone is worrying. It often belittles women. I’m not against eroticism; poets in the past have expressed it with beauty and sensitivity.” — Swanand Kirkire

Poetry was never meant to slip into vulgarity or disrespect women. The pressure to create hits and stay relevant is real, but success that erodes cultural values is unacceptable. Filmmakers and lyricists must recognise their responsibility—what we celebrate today shapes the values of tomorrow.”