Father, Son, and Holy War

The title of the first section is a reference to the ordeal that the Hindu god-king Rama used to test the fidelity of his wife after rescuing her from the demon king Ravana. The segment describes the various interconnected instances of communal violence in India in the years prior to the film. The film opens with the aftermath of the anti-Muslim riots in Bombay that followed the demolition of the Babri Masjid in December 1992. Several Hindu youth are heard speaking to the cameraman, saying that they had enjoyed the killing and looting, and that a list of Muslim individuals had been prepared beforehand, and that some authority figures knew of the plans to target Muslims.[1]

The film then describes a connection between the Indian nationalist movement and violent masculinity. In a voice-over, Patwardhan states that as a result of the British Raj stereotypes of "effeminate" Hindus and "martial" non-Hindu communities, the nationalist movement turned to militant symbols like Shivaji and Rama.[1] This led to an identification of Hinduism with the traditions of communities with more militant traditions, such as the Rajputs and the Marathas, which included practices like sati.[1] This leads to a description of the murder of Roop Kanwar in Deorala, Rajasthan, in 1987. Kanwar was forced to immolate herself on the funeral pyre of her husband, supposedly in keeping with the tradition of sati,[2] a practice that had been illegal since 1830.[3]

The documentary then goes on to describe how the identification of Hinduism with militant traditions also resulted in all opponents of Hindutva, including secular leaders and Muslims, as weak and effeminate.[1] The film depicts several public rallies and speeches in which Hindu leaders use misogynistic language while criticizing Muslims.[2] Instances of misogyny and intolerance in other religious groups is also depicted, with footage of Sikhs demonstrating in favor of Khalistan, and the Fatwa issues against Salman Rushdie.[1]

The second segment of the documentary depicts common icons of masculinity, and explores their connection to misogyny and sexuality. Specifically, the film focuses on symbols of masculinity that are phallic in nature. Many political leaders are heard linking non-violence and secularism to weakness and impotency.[1] A religious leader campaigning for the Shiv Sena in Gujarat is seen asking Hindu women to have eight children apiece, as a means of combating the perceived menace of Muslims.[2]

The film shows the visits of several western cultural icons to Mumbai, and the hero-worshiping reactions they generated among male youth from different backgrounds. The film then looks at aggressive and violent depictions of masculinity on television, both in Bollywood movies and in WWE wrestling, and at reasons for their popularity.[2] Examples of young children from different class backgrounds are shown exhibiting behavior that idolizes violence. Upper class children are shown mobbing professional wrestler Randy Savage, more commonly known by his stage name of "Macho Man", while young male members of the Shiv Sena, from less wealthy backgrounds, are shown engaged in street-fighting. Several young men are heard off-screen describing how watching rape in movies was "fun", and discussing the possibility of gang-raping a woman that they are not acquainted with.[2]