This essay critically examines the discursive construction of heroism in popular Bangladeshi films for a longer period in yesteryears, particularly those produced by the state-owned film industry. These films, often labeled as ‘mainstream’, catered primarily to working-class audiences, but were frequently dismissed as lacking taste and sophistication by the educated middle class. By employing a Gramscian understanding of hegemony, this research aims to challenge the dichotomy between ‘good’ and ‘bad’ films, and instead, unpack the power dynamics that shape the representation of heroes in Bangladeshi cinema and its significant changes in the later years. The ‘Robin Hood’ archetype, once a symbol of resistance and social justice, has undergone a significant transformation in recent films, reflecting shifting societal values and power structures. This essay seeks to explore the cultural and political implications of this transformation, and how it reflects the changing landscape of Bangladeshi society and politics.