The Taj Story

Notwithstanding the title, The Taj Story does not have much of a story to tell. What it does peddle by way of a narrative has not only been done to death over the decades but has also been debunked in several courts of the land, including the apex one. The writer of the film is constrained to admit as much in a series of title cards before the end-credits begin to roll. The Taj Story is bargain-basement filmmaking that draws inspiration from unsubstantiated history to create a piece of cinema that expects full-on explosions from dud-bombs. It wends its way through prickly territory only to end up without a case strong enough to make itself essential viewing for those who care for the truth.

I don’t think anyone working in The Taj Story is acquainted with ‘confirmation bias’ as a concept. Or they’re deliberately ignorant – which is worse. I gauged this from a scene, where a noted lawyer character’s reaction to the declaration “I have evidence that the Taj Mahal wasn’t built by Shahjahan” is not “what is the evidence?” Instead, the lawyer’s voice sounds almost jubilant – like it’s some personal victory. The goal isn’t to find the ‘truth’. The ‘truth’ has already been ascertained in one’s imagination – so one simply needs to cherry-pick facts, poke inane holes in the widely-accepted version of history – to plant a seed of doubt. This isn’t a conclusion arrived at after rigorous thought – it’s shameless, weightless contrarianism for its own sake.