By Anil Merani: Mawra Hocane’s sharp social media response to Harshvardhan Rane indicates that she feels hurt by her exclusion from Sanam Teri Kasam 2. Her acerbic post, in which she accused Rane of using her name for a “PR strategy” and seeking attention during the tensions between India and Pakistan, reveals a mix of personal and political motivations. This reaction seems particularly poignant given their successful collaboration on the 2016 film. Being removed from the sequel, especially amid nationalist backlash following her criticism of India’s Operation Sindoor, likely intensified her feelings of betrayal, especially as the film gained renewed attention after its 2025 re-release.
Interestingly, earlier in her career, Hocane criticized Pakistani actors for working with Indian filmmakers, which adds a layer of irony to her current situation. Before the Sanam Teri Kasam 2 controversy, she questioned her fellow actors’ decisions to work in Bollywood, aligning her views with Pakistan’s narrative against cross-border cultural ties during heightened tensions. At that time, her stance appeared to prioritize national loyalty over professional opportunities in India. However, her emotional reaction to Rane and the filmmakers suggests she valued her involvement in the project and appreciated the affection from the Indian audience, which she acknowledged in past interviews. This contradiction makes her situation more complex and intriguing for the audience.
Hocane’s conflict—criticizing collaborations while feeling hurt by her exclusion—reveals a personal struggle. Her posts, including a May 10, 2025, tweet stating “Pakistan Zindabad” and expressing prayers for civilians and soldiers, reflect her alignment with Pakistan’s position following the Pahalgam attack and Operation Sindoor. Yet, her critical comments about Rane, labeling his departure as a “sad or comical” attempt for publicity, expose her sense of loss regarding a significant career opportunity. She seems caught between her nationalist rhetoric and the professional implications of being sidelined in a project that contributed to her breakthrough in Bollywood, making her experience relatable and human.
The situation also calls attention to the broader India-Pakistan tensions influencing the entertainment industry. Rane’s refusal to work with her, supported by directors Radhika Rao and Vinay Sapru, who endorsed a ban on Pakistani actors, reflects India’s “nation first” sentiment following the Pahalgam incident. Hocane’s response, although sharp, avoids direct discussion of the political reasons behind her exclusion, instead focusing on Rane’s motives. This avoidance may stem from her desire to maintain her dignity in the face of trolling by Indian netizens, who criticized her “bizarre statements” and claims regarding ceasefire violations.
In conclusion, Hocane’s posts reveal a sense of wounded pride, nationalist sentiment, and regret over losing a significant role. Her previous skepticism about Indo-Pak collaborations adds depth to her reaction—she is not just hurt by the snub but is also grappling with the consequences of her divided stance.
Mawra had torn into Harshvardhan after her declined to be part of Sanam Teri Kasam 2 saying
Making such announcements at this volatile time, it’s both shameful and bizarre to see you so hungry and desperate. Our countries have been at WAR… two nuclear countries have been at war, this is not the time to discuss films, to mock one another, to bring each other down. Only goes to show your ignorance in such a sensitive situation, I guess it’s not just your news media that’s gone bonkers. If throwing all the respect away and using my name after nine years is getting you the headlines… you might be surrounded by the wrong team. You just DO NOT use war for your personal benefit. So many lives lost… it’s a grave situation, you’ve fallen from grace for nothing!”
She ended her statement by saying she was praying for civilians on both sides and not “immersed in the thoughts of what my next FILM should be”.
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