No country has aroused the kind of extremes Pakistan has in Hindi cinema. For long, filmmakers equivocated, preferring to use euphemisms such as ‘doosra haath’, ‘videshi taqat’ and ‘sarhad paar se’. It all changed over the last decade or so with Anil Sharma’s Gadar being categorical in naming the enemy country. If Gadar , despite being promoted as Ek Prem Katha was more about hatred, Yash Chopra with Veer-Zaara took another route, but Pakistan continued to be in the thick of things. Of course, films such as Maa Tujhe Salaam , LoC and later Kurbaan pulled no punches either. And a few years before them came a clutch of films that depicted Pakistani characters in a negative light — notable examples being Sarfarosh and Hindustan Ki Kasam .
However, no writer worth the name had studied the depiction of Pakistan in our cinema, until very recently The Magic Of Bollywood: At Home And Abroad , a Sage publication, pulled off a surprise. The book, edited by Anjali Gera Roy, opens a little window to the subject with the chapter ‘Dada Negativity And Pakistani Characters In Bollywood Films’. It is penned by Kamal Ud Din and Nukksah Taj Langah.
Some day, the door shall open too.
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For the moment, let’s be content with the window even if it can’t give you the complete view. At least this window offers us a multi-layered glimpse. As the authors point out, in the initial days following Independence, the focus was on Partition and the trauma related to the tragedy. Then the attention shifted to Kashmir, a paradise on earth caught in the crossfire between the oft-feuding States. The dream merchants though, for long could not think of anything but romance when it came to Kashmir. Shakti Samanta’s
If other films from the 1990s such as Angaar and Sarfarosh readily come to mind, those in the 1960s, namely Chhalia and Kabuliwala , do not recede from the memory either. Both the films had hot-tempered, lawless characters as Pakistani pathans! As the authors point out, Hindi cinema tends to use a binary of good versus evil, which in jingoistic times ends up projecting Pakistan as a monstrous, demonic country and India as the upholder of all virtues.
However, for some skewed reason, the authors have paid greater attention to
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Ditto with Kurbaan (released in 2009), which tackles the larger theme with the presentation of the U.S. as the neutral space, though following 9/11, America’s war on terror influenced Pakistani Muslims as well as Indians. Here, though, the authors do well to point out the ambiguity regarding the lead character’s association with Sunni or Shia sects and happily point out the Sufi tenor of the film by talking of the shrewd usage of a combination of Hindi and Arabic words in the opening lines, ‘Shukran Allah Wallah Hamdulillah’.
So, you see, it is not all black or all white. The truth, when it comes to depiction of Pakistan in Hindi cinema, lies somewhere in between. At times just love and romance. At others sinister villainy.
And thank God, somebody has finally made an attempt to study the projection. You can find blemishes with the effort but not with the idea.