Tag: Movie Reviews

‘Dhadak 2’ Review: A Bold, Unflinching Look at Caste 

Dhadak 2 is Shazia Iqbal’s Hindi adaptation of Mari Selvaraj’s Tamil film ‘Pariyerum Perumal’. It portrays an inter-caste couple’s fight against caste prejudice. 

Neelesh (Siddhant Chaturvedi), a Dalit student of law, has a simple and straightforward goal: to study hard, become a lawyer, and lift his family out of poverty. He avoids political activism, lest it derail his long term plans. He finds an empathetic friend in Vidhi (Tripti Dimri), who helps him understand the subject. And, like what happenes in most college friendships, theirs deepens into love.

Neelesh’s subservience and timidity get him nowhere: he is constantly reminded of his place in the caste hierarchy, whether in college or at social gatherings. Neither can he claim his right as a student, nor can he escape casteist taunts. 

His struggle is reminiscent of real-life Dalit students who paid the price for speaking out. The case of Senthil, the Dalit student in the University of Hyderabad who took his own life, comes to mind instantly. And when Shekhar (Priyank Tiwari), Neelesh’s contemporary in college and a fellow Dalit, resorts to the extreme step after being suspended for protesting, one cannot miss the resemblance with Rohit Vemula.

When his face is disfigured by upper caste students in college, the lion in Neelesh awakens. Siddhanth Chaturvedi plays Neelesh’s transformation into a confident and assertive individual, who will not take injustice lying down, convincingly.

Like Siddhant Chaturvedi, Tripti Dimri does full justice to her role. She is not the hero’s usual sidekick and carves out an identity and place of her own. Bold and outspoken, she doesn’t hesitate to ask uncomfortable questions, even if that means challenging her family’s honour. 

Full marks to Shazia Iqbal for boldly engaging with a sensitive theme like caste. She highlights the humiliation Dalit students face in our universities, capturing the stigma in all its rawness. She also addresses the problematic issue of upper caste family honour with the same brutal honesty.

Dhadak 2 is powerful in its treatment of caste. The crisp narrative, sharp dialogues, and engaging story enhance its appeal. It is a must-watch that doesn’t just entertain but compels reflection. The quote at the beginning of the movie sums it up best:

“When injustice becomes law, resistance becomes duty”

Review of The Hunt – The Rajiv Gandhi Assassination Case

‘The Hunt – The Rajiv Gandhi Assassination Case’, is an OTT series about the probe into the assassination of former Prime Minister Rajiv Gandhi in Sriperambdur in 1991. As the country comes to terms with the brutal murder, a Special Investigation Team (SIT), set up to nab the culprits, swings into action.

Establishing the LTTE’s role in the assassination is not difficult. The real challenge lies in nabbing Shivarasan, the mastermind of the plot. Amit Sial plays D.R. Karthikeyan, the lead investigator. In the words of his superior, Karthikeyan’s is the toughest job in the world. He faces pressure from all quarters – politicians, pro-LTTE Tamils, and a restless team. Yet, with a restrained demeanour, Sial impresses as the stoic Karthikeyan who rises to the challenge and keeps his team united & focussed on the ultimate aim. He is the fire that keeps the team’s spirit burning and the officer who leads by example. 

While showcasing the brilliance of the SIT, The Hunt says a lot about the support that the LTTE enjoys in Tamil Nadu. According to Inspector Ragothaman, the only Tamil officer in the SIT, “One man’s terrorist is another man’s freedom fighter.” A small sentence that speaks volumes.

Director Nagesh Kukunoor manages to evoke drama, intrigue, and suspense. Every scene captures the tension of the investigation, making you want more. The sharp editing and concise script also do their bit to engage you. I also laud Kukunoor for ending the series on an unresolved note. Yes, the SIT nabs Shivarasan and his team of LTTE operatives, but, as officer Amit Verma puts it, with Shivarasan’s death, the truth is also buried. The audience grapples with more questions than answers, a lot like life…..

A Fantastic Woman – A Review

A Fantastic Woman – A Review

While it is difficult to ascertain whether, historically, transgenders enjoyed a unique place in Indian society, the common belief is that Kings used them as henchmen and were sought after by newly-wed couples for blessings. Whatever their role, it is a fact that with the entry of the British into India, life for the community took a turn for the worse. The British were uneasy with the idea of a third gender and accused the community of perpetuating crime. While newly independent India relaxed laws against transgender people, the media became guilty of stereotyping them. Mocked for their effeminate personalities, they were, and still are, portrayed as beggars and criminals.

Indeed, community stereotyping is a universal phenomenon. Although India has a long way to go before accepting transgenders for who they are, Chile is showing the way in furthering their cause. Director Sebastian Lelio’s ‘A Fantastic Woman’, a movie about a transgender female Marina (played by Daniela Vega) and her struggle against prejudice, is a step in that direction. 

Working as a waitress and club singer in Santiago, Chile’s capital, Marina is in a relationship with an older cis man, Orlando (played by Francisco Reyes). Love is in the air as the couple celebrates Marina’s birthday over a candle-light dinner. As the two embrace and dance, the audience cannot help but soak in the romance. The two seem made for each other and are heading towards a happy future. 

A tragic twist shatters Marina’s happiness when, on the night following the birthday, Orlando dies of an aneurysm. As the grieving Marina tries to come to terms with her loss, she faces the wrath of Orlando’s family. His ex-wife wants Orlando’s car back, his nasty son asks her to vacate the house, and the family forbids her from attending Orlando’s funeral. To make matters worse, the bruises on Orlando’s body make the police suspicious. Was Marina being paid by Orlando for sex work? Maybe the two had got into a fight that ultimately killed Orlando.

Despite the weight of her problems, Marina stays dignified and graceful. She battles her ghosts like a lonely but brave warrior, swimming against the tide of societal prejudice. The scene where she tries to walk straight, resisting the heavy wind blowing against her, accurately captures her courage, dignity, and stoicism in the face of adversity.

Director Sebastian Lelio portrays a never-seen-before aspect of transgender people, which is that of grace. He succeeds in demystifying the community and subverting its association with sordidness. In Marina, the audience discovers a caring, sensitive, and strong transwoman who defies stereotypes. 

I would have liked Sebastian Lelio to explore some more dimensions of Marina’s life. What were her struggles as a child growing up in Chile? While there is a brief mention of her sister and brother-in-law, the movie is silent about her parents. Unfortunately, the movie is too linear in portraying Marina’s life. A multi-dimensional portrayal of a transgender woman that goes beyond platitudes or prejudices would have been ideal. 

Despite its lack of depth, Director Sebastian Lelio’s ‘A Fantastic Woman’ has contributed immensely to the transgender community’s struggle for identity and place in society, becoming the first Chilean movie to win an Oscar. More importantly, the movie helped drive conversations on the transgender question, resulting in the fast-tracking of a gender-identity law allowing transgender individuals older than 14 years to legally change their name and gender, with no requirement for surgery or change in physical appearance. That this took place in a country as traditionally conservative as Chile is an achievement worth celebrating.

Featured

Why I liked Jaane Jaan

Set in the hilly tracts of Kalimpong, ‘Jaane Jaan’ is a movie about Maya D’Souza (Kareena Kapoor Khan), a single mother. When she is accused of murder, she finds unanticipated help from her neighbour, the socially inept but gifted Mathematics teacher Naren Vyas (Jaideep Ahlawat).S

Kareena Kapoor Khan, a seasoned actor, delivers a brilliant performance in a new role. She deftly plays Maya, the cafe owner struggling to make ends meet. While we are used to seeing her exude oomph, in Jaane Jaan, she manages to impress in a middle-aged avatar. Her grace wins her many admirers, most notably Naren. As a result, Naren visits Maya’s cafe often, more for her and less for the egg-fried rice.

Jaideep Ahlawat is terrific as the steely Naren Vyas. Lonely and depressed, he masks his unhappiness with dignity. He cannot articulate his fondness for Maya, whom he loves most after mathematics.

Vijay Varma shines as Inspector Karan Anand, the Mumbai police officer tasked with finding corrupt cop Ajit Mhatre’s killer. He is sharp and trained to look beyond the obvious. However, he is no match for the genius of Naren.  

Varma’s performance is noteworthy because he, being a newcomer to Bollywood, takes on Kareena Kapoor Khan, one of the industry’s most accomplished actors, with confidence. Also, while Karan is attracted to Maya, the movie doesn’t succumb to the temptation of melodramatising the two.

Jaane Jaan is also a story of the triumph of the human spirit against all odds. Naren and Maya, both waging a battle on their personal fronts, show the determination and courage to craft their destinies. While Maya is moving on after a messy marriage, the suicidal Naren finds in Maya a reason to live. Their never-say-die spirit is the thread that holds the story together.

Jaane Jaan is also noteworthy for its crisp narrative. There are no wasted scenes or unnecessary dialogues, and the makers brilliantly pull off a story around a murder cover-up.

What is also unique about Jaane Jaan is how it uses Mathematics to enrich the narrative. Right from Naren’s empathy for a struggling student, Naren’s tireless efforts to solve complex mathematics problems, and the clever use of the subject to obfuscate the truth, the power of mathematics is on full display.

The investigation into Ajit Mhatre’s murder hits a dead end. While Maya is let off due to a lack of evidence, Naren finds the right environment to pursue his passion for mathematics – jail.

‘Darlings’ Review

‘Darlings’, Jasmeet K Reen’s directorial debut, is a movie about Badru (Alia Bhatt)’s struggle with an abusive husband Hamza (Vijay Varma). The film showcases Badru’s metamorphosis from a gullible wife to a more assertive individual aware of her rights. 

Badru’s mother Shamshu (Shefali Shah) is her daughter’s bedrock of support. She sees through Hamza early on and advises Badru to separate, but to no avail. It takes a miscarriage to make Badru realise that Hamza is like a scorpion and that friendship with a scorpion is fraught with danger.

The film portrays how well-meaning attempts to make Hamza kick the bottle boomerang on Badru. Badru believes that Hamza will turn over a new leaf if he quits drinking. But Hamza, who gives up drinking after a warning from his doctor, continues to misbehave. Alcohol is clearly an excuse for Hamza’s gas lighting. With this, the film also challenges the notion that men will be men.

Darlings also portrays how lower-middle-class victims of abuse often let go of the chance to get justice because they fear social stigma.

Alia Bhatt and Shefali Shah breathe life into a mundane Mumbai Chawl with their acting prowess. They are the energy and life of their neighbourhood with their deft portrayal of lower-middle-class women fighting poverty and abusive partners.

Darlings also legitimizes the use of violence to counter domestic abuse. Quite understandable, given Badru’s desperate situation vis Hamza.

Despite its dark theme, Darlings has its lighter moments. Whether it is the confused cop Rajaram Tawde (Vijay Maurya) or ticket collector Damle (Kiran Karmakar), you smile when they occupy screen space. Of course, Alia Bhatt and Shefali Shah are the ones who make you laugh the most. 

Vijay Verma’s portrayal of the mean Hamza Shaikh deserves applause. Being paired opposite a formidable actor like Alia Bhatt must have been daunting. Yet, Verma rises to the occasion with a performance that is sure to stand him in good stead in future Bollywood projects.

The statutory warning at the end sums up the movie aptly: Violence against women is injurious to health. 

‘The Unknown Saint’ Review

‘The Unknown Saint’, a movie by Alaa Eddine Aljem, is about a thief (played by Younes Bouab) who buries a bag of money before going to jail. When he returns to the burial spot after serving his term, he finds the place converted to a mausoleum dedicated to an unknown saint.

As the thief waits for his catch, a series of subplots and character sketches roll themselves out. 

The shrine of the Unknown Saint is set in a parched, rocky and deserted Moroccan village, miles from any human habitation. The village owes its existence to the unknown saint’s shrine and its economy sustains itself by the trickle of tourists who come to pay their respects. The movie drags as it tries to portray the stillness of the place. The director is economical with the number of characters he introduces. Yet, whenever one is introduced, the screen comes alive. 

The most entertaining of the characters is the doctor-nurse duo. The former is young and sincere but is frustrated by his patients, all women, who report symptoms that don’t seem to conform to any scientifically established disease. His experienced nurse (played by Hassan Ben Badida) clears the mystery by saying that women visit the clinic to huddle together and escape the monotony of their daily lives. He also advises the doctor to prescribe a harmless pill (most probably paracetamol) that comforts and assuages their fears, a practice the nurse has been following all along. The doctor tries hard to hide his disappointment over wasting his skills.

Other characters include the security guard who manages to prevent the thief from entering the shrine. A widower, he prefers his German Shepard to his son. This is not the only tenuous father-son relationship that the movie showcases. The neighbouring village has a young man who wants to migrate to greener pastures, free from the lacklustre life in his village. He meets with opposition from his father who believes that praying to the ‘Unknown Saint’ is enough to bring luck. 

The village barber (played by Ahmed Yarziz) doubles up as a dentist. Lively and full of energy, his shop is the chosen haunt of the men who are not in a hurry to get their beards or hair trimmed.

The long wait for things to change seems to pay off as each character embraces a new beginning. For example, the doctor’s blank look turns into a half-inch smile when he realises that his skills come in handy for the treatment of animals. Such twists are also seen in the lives of the security guard, the barber and others. The thief deserves credit for triggering this happy chain of events but, at a personal level, he is left high and dry.

Time stands still in the village. While the movie ought to merely imply the sluggishness associated with life in the village, Alaa Eddine Aljem allows this sluggishness to slow the movie down.

An unusual feature in ‘The Unknown Saint’ is its emphasis on male characters. It is puzzling that not even one female character assumes importance and that all female characters are painted in the same brush.

If you are looking for drama, The Unknown Saint is not for you. But if you are a patient watcher like me, the smile will not leave your face. 

Halal Love Story : A Film That Keeps The Faith In Humanity

”Halal Love Story” is a movie about a group of Muslim men who want to make a telefilm to spread the teachings of their Islamic organisation. It captures the constant tension between halal (permissible) and haram (forbidden) and the Muslim community’s struggle with liberal values like democracy and equality. 

There are two movies being played out. One is the main movie and the other is the movie within the main movie that the characters (of the main movie) are attempting to make. 

A genuine creative process is not bound by any limits or rules. It does not fear religious or traditional repercussions. But the movie within Halal Love Story is bound by a halal script. For instance, the lead pair cannot be strangers; the script demands they know each other. It thus follows that the deeply religious Shareef (Indrajith Sukumaran) and his wife Suhara (Grace Antony) are cast in the lead role. The scenes between the two are laced with humour and make for an entertaining watch. The couple also shares some tense moments when Shareef resents Suhara’s superior acting skills, thereby affecting their on-screen chemistry. However, the two make up after Taufeeq (Sharafudheen), who is in charge of the film making, brokers a truce.

Grace Antony is easily the star of the movie, both within and without. She shines as Suhara, the subdued homemaker who blossoms as a fine actor on the sets. Indrajith Sukumaran’s performance as the well-mannered Shareef, who is forced to come to terms with his limitations, deserves applause too.

Other scenes explore the ambiguous definition of Halal and Haram. Raheem (Nazer Karutheni), the leading light of the local branch of the Jamiathu Ikhwan Al-Wathan organization, recruits screenwriter Taufeeq to pen the script. But the duo realises that a perfectly halal director is a rare commodity. They hence settle for Siraj (Joju George) , a non-believer who smokes and drinks. Like Shareef and Suhara, Siraj finds it difficult to keep his messy personal life out of the movie but eventually makes peace. 

Soubin Shahir does a cameo as a sound recordist and is responsible for most of the comedy. He shuts down an entire village, disallowing housewives from washing clothes and forcing people to freeze mid-step when he shouts ‘Silence’ for a perfect take.

Director Zakariya Mohammed has explored a bold theme in Halal Love Story. Firstly, narrating two movies, one within the other, needs skill and acumen. In addition to that, he has made a strong case for a middle ground between tradition and modernity. In the process, he has just tickled the ribs of, without laughing at, the scriptures. I would also prefix the movie with the term ”feel-good” because there are no losers. Everyone, despite their personal issues and ideological biases, evolves and grows in the process of shooting.

Halal Love Story’s storyline was a little too simple, just like the men who embark on making the movie within the movie. But given the challenging theme, it is possible Zakariya did not want to take a risk.

Halal Love Story has a loud and clear message, which is that when tradition and modernity collide, it is humanity that must triumph. 

Heart Needs Rebooting As System Crashes : C U Soon Movie Review

“C U Soon” is a movie about Dubai-based Jimmy (Roshan Mathew) who falls in love with Anu (Darshana Rajendran) after they meet on Tinder. Jimmy proposes to Anu on a video call as his family watches from across the world. His worried mother (MaalaParvathi) asks her nephew Kevin (Fahadh Faasil), a cyber sleuth in the US, to verify Anu’s antecedents.

Just when it seems that the couple is ready to take the next step, a twist emerges with Anu’s disappearance from Jimmy’s home. There is more to it than meets the eye, prompting the Sherlock Holmes in Kevin to come alive. His digital-forensic skills are used to the maximum.

The plot thereafter is predictable. However, the movie’s intelligent use of digital communication devices ensures the audience does not stop paying attention. Suspense is a by-product of the innovation.

The screenplay rests entirely on computer screens and mobile devices. The dialogue comprises of text messages or video chats. At any given point, there are two cameras at work – the one of the image capturing device connecting actors at two ends and the other of the master movie camera. Both complement each other without getting in the other’s way. Only editing of a high standard could have achieved that. 

Additionally, C U Soon captures technology’s tremendous scope in searching, finding and deliberating. One is amazed at the speed and efficiency with which Kevin deciphers the truth with his nimble fingers on the keypad. The film’s extensive use of Google searches, Maps, WhatsApp chats and Hang Outs reminds me of what someone once said, namely, that technology has made “knowing” irrelevant. After watching “C U Soon” I could not agree more.

For millennials familiar with mobile jargon, the title ‘C U Soon’ would make perfect sense and the screenplay seem natural. However, even for those not comfortable with dating apps or social media platforms, the movie manages to be engaging. 

Despite its unimaginative plot, I would commend Mahesh Narayanan for attempting such a challenging genre. The movie was made so that a set of film makers could earn money during the lockdown. Remarkably, they have not disappointed and the audience never feels the lack of sets, travel and exotic locales. Far from being a disadvantage, Social Distancing is used creatively. 

Fahad Faasil’s composure and subtle expressions complement Roshan Mathew’s impulsiveness. The latter’s fly-by-night love affairs remind you of the exuberance of youth. Darshana Rajendran deserves applause for a solid performance.

“C U Soon” is truly a movie meant for the lockdown period. In addition to teasing your brain and making you see film-making in a new light, it reminds you that movies offer a glimmer of hope in challenging times. 

SUPER 30 REVIEW

Super 30              s2

Vikas Bahl’s Super 30 is based on the life of brilliant mathematician Anand Kumar who helps thirty smart but underprivileged children prepare for entrance exams to the IITs. The film showcases how poor students with meager resources struggle but eventually triumph with guidance from Kumar.

Hrithik Roshan, who plays Anand Kumar does justice to his character. Having got used to seeing him in romantic or superhero roles, it must have been challenging to play a mathematics teacher. The audience would naturally find it difficult to relate to him. However, one can spot the effort that he has put into fleshing out Anand Kumar’s role. Take for instance the way he magnanimously responds to the humiliation meted out to him by the librarian of a reputed college. Another instance is when Kumar manages to get into Cambridge but is short of money to realize that aspiration. He sees his father die trying to raise money for the purpose. This scene is a sad commentary on how intelligent youth from poor backgrounds lose opportunities merely because of their economic status.

Super 30 successfully engages with the question of privilege and class bias in other ways too. For example, Kumar is seen motivating his students who are weak in English to stand up to their counterparts from English-medium schools. The scene where they do a skit in English with privileged kids as an audience is praiseworthy. The skit, an idea conceived by Kumar teaches his students to believe in themselves and never give up. In many other scenes too Kumar is seen emphasizing the importance of education to his students.

Anand Kumar is regarded as a precious teacher by his students, and he is in great demand from the rich and poor alike. But while batting for the rights of the poor, Vikas Bahl’s Super 30 does not succumb to the temptation of painting privileged children as villains. For example, there is a scene where a rich former student of Kumar asks him why he is depriving them of his teaching. Is it because he is privileged? The irony of the situation is stark.

Another notable scene in Super 30 is when the local MLA Shriram Singh (played by Pankaj Tripathi) breaks his promise of helping Anand Kumar. Hrithik portrays Kumar’s disappointment with ease and confidence. Full marks to Pankaj Tripathi for making us cringe at his crookedness and pettiness, either in the pipe dreams he sells to Anand Kumar and the rural folk or in his involvement with the coaching mafia. He truly makes you want to hate him.

Super 30 has its share of comedy too, such as when Hrithik enlightens his first love Supriya (played by Mrunal Thakur) on the mathematical ratio used to measure beauty. I never knew that such a ratio existed and was pleasantly surprised to learn of the same. The movie thus weds Anand Kumar’s obsession with mathematics with his love for Supriya.

Mrunal Thakur depicts Supriya, a girl from an elite background who doesn’t carry that status on her sleeve. After all, she is the daughter of a rich businessman but is dating the son of a postman. She is neither too brash nor too simple but subtly gels into her character. One loves her in the second half when she steals an important document to rescue Anand Kumar’s dream. She is a delight to watch when she tells her IAS officer husband (who is aware of her past with Kumar) that her choice of men has always been sound! For a newcomer it is a great start.

Personally, I sympathized with Lallan Singh’s character (played by Aditya Srivastav) for being let down by Anand Kumar. His position is unenviable and hence credit is due to Srivastava for portraying the money hungry head of a successful coaching centre who is eventually defeated by Anand Kumar.

Anand Kumar’s innovative teaching techniques are at the fore in Super 30. The maths, physics and chemistry concepts are explained well and used intelligently in the fight sequences which are worth watching purely for this reason. They mask any kind of boredom that might arise owing to their length.

Anand Kumar’s fight against a corrupt system and his obsessive need to help needy students reminds one of Robin Hood. He is willing to risk his life for the sake of educating his students. The second half is replete with scenes of violence when Anand Kumar’s rivals gun for his blood.

The larger point that Super 30 makes, which is that students from poor backgrounds have it in them to be successful, provided they are smart and determined, is not lost on the audience. This forms the heart and soul of the movie and is as precise as one of Anand Kumar’s maths lectures. The movie’s heart literally beats to the tune of justice for the underprivileged.

Super 30 is a bold take on India’s education system that is corrupted by nepotism and privilege. Considering that it is based on a true story makes it all the more relevant.

 

The Uri Effect, Post Pulwama

Uri, the movie about India’s surgical strikes on terror launch pads in Pakistan Occupied Kashmir resonates with (or maybe even determines) the present mood in India, post Pulwama. The movie somehow demands that everyone participate in experiencing a “Josh” or acting out on it (by beating up Kashmiris, threatening Muslims who are deemed anti-national by default). The protagonist Major Vihan Singh Shergill, played by Vicky Kaushal is an ace military strategist who is forced to return to home to care for his mother, an Alzheimers patient. During this time he loses his brother-in-law, Major Karan Kashyap (played by Mohit Raina) in the Uri attack. Thirsty for revenge, he begs his commander to let him return to the frontlines for the greater good of the motherland.
In the first half of the movie, Major Vihan plays the role of a responsible son, loving uncle and friendly brother, all at once. The camaraderie he shares with Major Karan is typical of the armed forces, but there is nothing more that endears you to him as an actor. His performance is clichéd, lacking depth or nuance. After seeing him in Sanju, one feels he has not done justice to his talent. But the war hysteria and passionate anti-Pakistan slogans are used effectively to mask the otherwise dull performances.
The second half of the movie revolves largely around the planning and execution of the surgical strikes. The discovery by Ajit Doval (played by Paresh Rawal) of a bird-shaped drone invented by a DRDO intern is the only thing that adds a spark to the movie. Unfortunately, it is not developed enough.
The manner in which the scenes are stitched up leaves a lot to be desired. Even the war scenes are just deafening gun fire and as expected, the Pakistanis are shown as no match for the Indians.
By this time Major Vihan’s family – his mother, widowed sister and niece –seem to be erased from the audience’s memory. If the movie aims to prove that the call for revenge supersedes all other responsibilities, it fails to do so again. And it is this attitude that is on display in the India of today. Unfortunately, one (fictitious) man’s call for revenge has become a personal call to the youth of the country. People have taken it upon themselves to teach Kashmiri students a lesson after the terror attack in Pulwama, despite no evidence of their involvement. Innocent Kashmiris across the country face persecution for deeds they are not guilty of.
There are other problems with the movie too. For instance, the euphoria of revenge for the Uri martyrs drowns the audience’s capacity to think critically, leaving no scope for reflection. Doesn’t one wonder why war widows dressed in white (in this case Vicky Kaushal’s sister) are left in the lurch as their husbands are on the frontlines, and only see their partners in coffins? Families of military personnel always struggle with their absence. And when soldiers die, they leave behind widows and orphaned children. Nowhere in the movie are these dilemmas addressed. Instead, war in all its madness is glorified. True, the movie is essentially about war and the sacrifices that our soldiers make. But is it not possible to shine a torch on the senselessness and madness of war too?
According to “Uri-The Surgical Strikes”, the ends justify the means. The audience is encouraged to sympathize with Major Vihan Singh Shergill’s character and some even echo ‘How’s The Josh’ on the other side of the screen. Moreover, this echo also drowns any serious critique about issues that have recently come to light (bad food for our soldiers, no leave, poor treatment of jawans, harsh weather conditions etc).
“Uri-The Surgical Strikes” leaves nothing to one’s imagination. It does little more than glorify the armed forces and whip up war hysteria. Of course, the endless scenes of violence and gore fill the audience with ‘Josh’. However, what is missing is a calm and reflective assessment on the failures of the Indian state that may have alienated Kashmiris and minorities Where is the attempt to win the hearts of young Kashmiris? The Kashmir Question is a very complicated one and needs to be dealt with at various levels, beginning with dialogue, dialogue and dialogue!images