Kangana Ranaut’s combative, no-filter style has come with setbacks. Thanks to her unwillingness to be diplomatic, she has alienated an influential chunk of Bollywood. It’s the reason that, even after doing a massive costume drama like Manikarnika, she’s not mentioned in the same breath as contemporaries Deepika, Anushka, and Alia.

We did not expect Thackeray, produced by Shiv Sena’s Sanjay Raut and directed by MNS’s Abhijit Panse, to be critical of the party supremo. But even their unabashed allegiance can’t prepare you for the relish with which the film glorifies the ugliest parts of Bal Thackeray’s legacy.

As someone rooting for the success of Manikarnika, I was hungry for the movie to delve into the story behind the story. Did the exemplary Queen of Jhansi make mistakes? Did she have regrets? But the film only offers us Kangana Ranaut’s glaring dialogue-baazi and jaw clenching, and hammy plot devices.

Both Manikarnika and Thackeray will release tomorrow, and both bring to the fore why Indian biopics so rarely do justice to their subjects. Bollywood biopics have, at best, a testy relationship with reality. Fact might be stranger than fiction, but filmmakers can’t seem to resist embellishing the truth.

From Raja Harishchandra to Padmaavat, Bollywood has a history of depicting its queens as either pious and uncomplaining, or rude and proud, waiting for the hero to tame their ego. Now that Kangana Ranaut’s Manikarnika: Queen of Jhansi is due to release, can we hope to see more than a royal caricature?