The genre of nationalistic films in Bollywood has prolonged been injured by narratives that roar jingoism left, right and center. From Maa Tujhe Salaam to Border to Main Hoon Na, a nationalism has mostly been of a chest-thumping kind. And mostly in hunt of a caricaturish criminal to underline such impassioned nationalism, filmmakers have staid on Pakistan as a gentle scapegoat.
It is not like Bollywood has not been creation films that offer some outlook on a Indo-Pakistan situation. While Hrithik Roshan’s Lakshya was a tiny yet conspicuous step in that space, Bajrangi Bhaijaan, some-more recently, was also an excellent achievement. But it is usually with Meghna Gulzar’s latest charity Raazi that Bollywood truly tackles a doubt with a neutral viewpoint.
Said to be formed on genuine events, Raazi is a story of an harmless 19-year-old lady named Sehmat who is plucked from her required college life in Delhi University to take her father’s place as an comprehension agent. During a uneasy times of a 1971 Indo-Pakistan War, Sehmat is afterwards married to a Pakistani army officer and is lerned to send vital information to India. While a choice is never forced on Sehmat, with Raazi, Gulzar manages to ask what prior hyper-nationalist films possibly frequency worry to ask or absolutely brush off to a sides: Why? Exactly because this 19-year-old is prepared to put her life during interest is one doubt that forebodingly looms over a heads via a 140 mins of a film.
When Sehmat is asked a same by her coach Khalid Mir (played by Jaideep Ahlawat), she does confess her adore for a nation. But she is also discerning to supplement how this kind of sacrificing nationalism is something that has been using in her family. It is something that her father and grandfather stood for and is as most of an estate than a choice. But as a account progresses ahead, we are done to see how Sehmat is anticipating it formidable to cope with a offensive actions her pursuit final out of her. It is generally transparent in a movie’s consummate (even yet a tad bit too dramatic) when she finally gives adult and desperately begs to lapse home.
Equally worthy is how Meghna Gulzar has portrayed a Pakistani family in a film. Instead of resorting to a ‘cruel in-laws’ stereotype, a Pakistanis are decorated as genuine people in Raazi. While Sehmat’s father Iqbal (wonderfully played by Vicky Kaushal) generally shines as a multi-layered impression who equally loves his possess country, Gulzar has given plenty suspicion to sketching a rest of a family as well. Be it Shishir Sharma’s Parvez Syed or Amruta Khanvilkar’s Munira, it is transparent that a Syeds are a kind and inexhaustible lot.
While in a past, filmmakers have mostly resorted to portrayal their antagonists as evil, wanton and unhandy characters who could usually aver loathing from a audiences, Raazi believes in vital in a greys. There are no radically good or bad characters. There is no hatred. The usually knave is a war.
The fight stage between Sehmat and Iqbal is generally critical in this regard. While they unknowingly accept that their adore for their nations is incomparable than their adore for any other, they never demeanour during any other as enemies. But as victims who are done to select a other side by their circumstances.
Through nuanced conversations like this, Gulzar depicts how in Raazi’s world, nationalism is adore for one’s republic and not loathing for another. While there is a lot of speak around one’s watan or mulk, there is no inequitable using down of a other country. Another absolute stage where this is clearly noted out by Gulzar is a one between Iqbal and his father, when in a fit of rage, Parvez is about to abuse Sehmat. Iqbal vehemently calls him out justifying that what Sehmat did, she did it for her nation.
As India wins a war, a film closes with a strain that goes like, “Ae watan, small watan, aabaad rahe tu… Main jahan rahun jahaan me, yaad rahe tu,” it is tough to forget a touching stage where a same lyrics had embodied Pakistan’s nationalism earlier.
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