Rang De Basanti Movie Review

Rang De Basanti is an entirely new kind of Bollywood film. It does not use conventional Bollywood filmic techniques and even deviates from the formulaic nature of Hindi films. In fact, it resembles Western films in several ways and seems to have a goal of harmoniously combining the two cultures. Nonetheless, there are still residual features of classic Hindi films such as the reverential mother figure or loyalty to country. Rang De Basanti is a platform for more serious issues in India to be displayed without as much sugar-coating. It takes a long, hard look at patriotism in the 21^st century and actually transfuses the old passion that existed in Indian citizens into the apathetic youth of today.

One of the most noticeable changes in Rang de Basanti is the camera work. Without getting very technical, the movie has more sporadic, quick movements of the camera than the traditional smooth and flowing filming. Camera work in Rang De Basanti resembles filming done by real human hands, like in a documentary. It has the same kind of flaws a human might make in the filming process like shaking or angling the camera slightly off. It seems to me like there is a goal of creating life-like conditions and this camera style is one way of doing so. Another change from the norm is how this film uses collages, time-lapse clips, and the blurred, picture-like images to represent memories. The scene where Ajay proposes to Sonia and the group of friends celebrates is an example of all of these techniques. The scene is filmed as if it is a snapshot of a memory, with a collage of images sown together and some of them slowed down for a crisp illustration while others are fuzzy like an escaping memory. This type of editing creates the feel of a documentary rather dramatic setting of a regular Bollywood film.

While Rang De Basanti appears revolutionary on the outside, it still perpetuates some of the classic trends and themes in Bollywood cinema. One obvious example is how the mother figures are still viewed as the moral center and held in great esteem. Another common trend that we see once again in RDB is how women are pushed aside by the end of the film in order to make room for the male characters to develop. Sue, who was the center of the action for a majority of the film, disappears near the end and is left totally out of the loop. Then there is the matter of patriotism. RDB is based entirely on patriotism like many of it’s predecessors in the Hindi film industry,

One of the more innovative features of the film is it’s attempt to reach out to youth culture. The whole movie is catered to young people and their interest. Sonia and her friends engage in behavior that is considered risky and hip which causes younger audiences to at least be interested. It combines the older, more traditional theme of love for one’s country and puts it in a modern context. Personally, I found it hard to relate to all the notions of undying patriotism as well, but the movie put into perspective how I can interact with the emotion as well. RBD addresses youth’s apathetic nature and then clearly shows how and why they should change that around.

There is an unveiling of India in RBD that we’ve never seen in previous Hindi movies. The rot under the shiny exterior is visible in this movie and acknowledged. India is not portrayed as a perfect and moral example of how a socially conscious nation should be. Instead, there is direct confrontation of the corruption rampant through the country but there is also evidence of the things that make the country a place worth saving and loving. The only other movie I can think of that has been so candid about the state of India is Slumdog Millionaire. Both films seem to be applauded for their brave presentation of the truth.

There is also less emphasis on the song and dance sequences than normal. I have taken the stand that RBD would have been better given more eloquent and descriptive songs. While it is a refreshment getting a break from all of the lengthy songs we see in every Bollywood film, I believe a Bollywood movie needs to have adequate songs in order to be effective. I realize that RBD was going for a more realistic angle and a dream sequence would just ruin the style of the movie. There are other ways to go about creating a meaningful song within the movie and keep the realistic feel. They could have made the music more inspirational than anything, kind of like Lagaan. The songs in Lagaan helped the movie and it’s message immensely; I can only imagine it would have done the same for Rang De Basanti.

Overall I enjoyed the movie. The first time I saw it, however, I didn’t like it because I just was not used to the new format of filmic RBD employed. I found it difficult to adjust and simply decided not to like the movie. Having watched it again, I realize that the new style is opportune for promoting the morals that RBD advocates. The different style complements the message and makes it better understood. I also really appreciate how practical the film is. It inspires youth, teaching them what can be done to make the world a better place instead just how to fantasize (mostly about the opposite sex). Although I wouldn’t want every Hindi film to emanate the techniques used in Rang De Basanti, it does make a great addition to the vast collection of great Hindi movies.

Maisha Mir

Rang de Basanti

Uday Reddy

Rang de Basanti, directed by Rakesh Omprakash Mehra in 2006, tells the story of a British woman making a documentary about India. Inspired by her Grandfather’s diary, Sue (Alice Patten), travels to India to recreate the story of early Indian freedom fighters. She recruits five college kids to star in her film, and they reluctantly agree to cooperate. Her friend Sonia (Soha Ali Khan) helps her find four guys to play the part of the revolutionaries, Daljit or “DJ” as he is referred to (Aamir Khan), Karan (Siddharth Narayan), Aslam (Kunal Kapoor), Laxman (Atul Kulkarni), and Sukhi (Sharman Joshi) are all cast to fill the roles. Filling their days with partying and shenanigans, the group is very representative of modern day youths in India. They are not really concerned with social issues, or political issues, or anything other than childish things really. They participate in things that the previous generation considered seedy, such as being flirtatious and bribing police officers. The one exception, though, is Laxman who is inspired and is able to identify the problems with corruption India is facing. He thinks that India’s youth is far too concerned with popular culture than social issues.
The next big plot shift in the movie happens when Ajay, Sonia’s fiancé and also a Flight Lieutenant in the Indian Air Force, is killed when his plane crashes. The government insists that it was caused by a pilot accident and that Ajay is to blame. Sure of Ajay’s abilities, Sonia and her gang suspects that foul play has occurred and investigates. Eventually, they learn that the reason for the crash was due to faulty parts that the corrupt defense minister signed off on as part of a political contract, and in a shocking turn of events they learn that it was actually Karan’s father that was behind the faulty parts, the defense minister was only in it for the money.
Shocked by this new discovery, the gang decides to take action and protests in New Delhi. The police and protesters clash, leaving many injured including Rathod’s mother. The gang is even more fired up and realizes that the only way that they will get through to the government and the media is to assassinate the defense minister. Karan embarks on his own vendetta, against his father and ends up killing him as punishment for his corruption. What the gang didn’t think of is if the public would realize why the two have died, and instead the defense minister is considered a hero by the Indian people. The gang takes things to the next level when they storm a local radio station. Unfortunately for them, the radio station is evacuated of all employees, making the Police’ job of storming the building and killing all the freedom fighters that much easier.
While the gang isn’t exactly the most elite group, they definitely show many important themes and ideas throughout the movie. The group is used to show audiences that even the most uninspired Indians can come together for the greater good of the country. The group shows that even though one may die while fighting for one’s cause, it is still the just thing to do. Ajay is an obvious hero in the movie, dying for his country and serving as a catalyst for all the change that the group fights for. Even in the beginning of the film, Ajay is always pro-India, and the others (especially Karan) are decidedly anti-government. I feel that Karan is definitely the end hero in this movie though. He always is becoming the “better man”, and during his speech at the end of the movie, actually encourages joining the military and government to fight corruption from the inside out.
Sue was a critical part of the introduction of the film, but I feel that she really takes a back seat role in the film as it progressed. The film started being less about the previous revolutionaries and started shifting to the modern day issues that plague India. The song and dance in this movie were quite different than previous Bollywood movies, they were much less glamorous and much more heart touching and meaningful, in my opinion.
Rang de Basanti inspires and captivates audiences. I really enjoyed this movie because it showed that one does not have to be violent to get their point across. And actually, if they were not violent they would probably still be alive. But at the same time, they probably would have not been as successful. Nevertheless, Rang de Basanti is a great movie that really mashes past mentalities, with modern day controversies and issues.

Rang De Basanti

Grace Hennessy
HIND 2441
26 April 2010
Rang De Basanti
Written and directed by Rakeysh Omprakash Mehra, Rang De Basanti was released in 2006. The movie begins by telling the story of a young British girl, Sue McKinley (Alice Patten) who aspires to travel to India to make a movie following the events of her grandfather’s journal. Her grandfather was stationed in India during the early 1920s and witnessed the start of the independence movement, with a small group of freedom fighters. She becomes inspired by the will of the young men and hopes to find similar characters to play the roles on her visit to India. With the help of her friend Sonia, (Soha Ali Khan) she meets a young group of college students, begins to make a movie, and falls in love. She casts Daljit (Aamir Khan), Karan Singhania (Siddarth Narayan), Alsam (Kunal Kapoor), Laxman Pandley (Atul Kulkarni) and Sukhi (Sharman Joshi) as the young revolutionaries: Chandrasekhar Azad, Bhagat Singh, Shivaram Rajguru, Ashfaqulla Khan, and Ram Prasad Bismil.
At first the group of young college students are uninspired. They come from priviledged lives and have never had to fight for anything before. However, as the movie progresses they learn about the sudden death of Sonia’s fiancée, Ajay Singh Rathod (R. Madhavan), caused by cheap, faulty airplane purchased by the government. After this, the characters’ feel the intensity felt by the original freedom fighters they were scripted to play. Further injustice is held against Ajay’s family and friends when their family is forcibly removed from publicly mourning his death. Everyone is injured, and Ajay’s mother slips into a coma. From here, the group begins a plan of action. They decide to bring justice to Ajay’s death they will have to murder the corrupt Defence Minister (Mohan Agashe). After nothing is brought to light on the corruption regarding Ajay’s death, they decide that in order to bring light to the situation, they must publicly announce it to India. Fortunately, they have a friend who hosts a talk show for All India Radio, and the group decides to hijack his morning program. On live radio they reveal their secret of killing the Defence Minister and their motivation, and crowds gather outside, along with the military. The movie ends with all of the young men being shot.
So far, I feel like this is the most modern movie we have watched. The way the young college students are portrayed, with the drinking and smoking seemed realistic. I thought that it accurately displayed the injustices of India’s government and left you feeling with the hope that it can change.

Rang De Basanti

Rang De Basanti was released in 2006 and for the most part was well received. It stars Aamir Khan as DJ, Siddarth Nayaran as Karan, Soha Ali Khan as Sonia, Kunal Kapoor as Aslam, Sharman Joshi as Sukhi, and Laxman Pandey as Atul Kulkarni . The leading character is played by British actress Alice Patten as Sue. Sue travels to India to film a docudrama about five individuals who gave their lives for the independence and freedom of India. With help from her friend Sonia she recruits four guys to play her lead characters- Dj, Karan, Aslam, and Sukhi, Sonia of course lends a hand in the film and later Atul comes in. The interesting thing to note with these characters is that they all come from very different backgrounds. Aslam is a Muslim who appears to come from a family that could be considered lower class. Dj is a Sikh and his family background seems to be middle class. Karan is a Hindu who very wealthy, we are not shown Sonia or Sukhi’s background but it is safe to assume they are middle class/upper middle class Hindus. Then you have Atul who belongs to the Hindu right and is not shy about showing his contempt for Muslims. All are good friends except for Atul who clearly does not like Aslam because of his religious beliefs. While filming at first does not go well, not everyone is taking it seriously and then you have the tension with Atul; but then things start to come together. One begins to see the characters become their “characters”. Everything changes when Sonia’s fiancé, Ajay, dies in a plane crash. It is then revealed that his death among many others pilots before him were a result of a corrupt government. Because of the government’s refusal to take responsibility for Ajays death, the group of friends plan a “sit in” I protest. This of course creates a riot resulting in almost everyone getting hurt and Ajay’s mother winds up in a coma.

While Sue was a central character in the first part of the film, we don’t really see her in the second half. It is in the second half that we see these six characters take on the “freedom fighters” personas. They decide that they must kill the defense minister, because he would never take responsibility and he had to pay for his corruption. In a rather quick transition the minister is killed and the guys decide to turn themselves in. It is never explained why Sonia is not an active part in the killing. The guys hijack a radio station so that they can tell their story. Swat teams storm with the order to leave no one alive. The audience watches as each of the men die. This is to mirror the men they were playing in Sue’s film. Life was imitating art and well history.

This film had some really great moments; however, it was not perfect. While in the beginning Sue has good intentions it seems as if she lives too much in India’s past (in her grandfather’s journals). It seems irresponsible that she would go to India and engage with people about politics, without understanding the political situation. She also seems to not even try to understand why these guys act the way they do. Her ignorance does not help her situation, it is also strange that no one explains the situation to her and why everyone is acting the way they are.

Despite the reenactments being rather cheesy, one look at Aslams (from a female perspective he was by far the best looking of the bunch –swoon-) face and they are forgivable. While at first I was irked at the thought that once again we have a situation in which a white foreigner comes in to teach the people their own culture/heritage/history, however, sometimes it takes looking at things from another perspective, or rather someone shaking you to see what is in front of your nose.

This is not your typical Bollywood film. Yes there are songs and dancing, however, there is nothing flashy about this film. This film touches on situations that are likely to happen. One can see Bollywoods/ Indian cinemas turn towards realism with this film. It is a definite must watch!

-Sonja

Inquilbad Zindabad, Youth Culture and Recognition of History in Rang De Basanti

Mark Wiebers

Inquilbad Zindabad, Youth Culture and Recognition of History in Rang De Basanti

In contemporary India there is a constant reminder of the revolution for independence and empowerment. A picture of Gandhi or Nehru is on many walls in government offices, Gandhi’s face is on all rupee notes, and there are thousands of statues of Gandhi, Neru and Ambedkar. All only material remnants with symbolic left over ideals of the empowerment of all Indians. The phrase Inquilab Zindabad (long live the revolution) seems to have as much meaning in the present as the past. The revolution of the empowerment of all Indians and to end their suffering is still in effect. But in the current day this idea has seemed to passed as the Indian youth are becoming more cosmopolitan. This is similar to how some groups during the Independence movement are emphasized, and others like the Hindustan Socialists Republican Association and Subas Bose are put to the background. These groups that used violence were also a part of the revolution. Rang De Basanti was a monumental film, that targeted the young Indian and challenged them the recognize other groups in Independence movement, and realized that Inquilab Zindabad was still in effect.

Rang De Basanti starts with a British filmmaker (Sue) whose grandfather was jailer of Bhagat Singh. The jailer received Bhagat Singh’s journal. The jounal was going to be used for Sue’s film. Sue learns Hindi and goes to Delhi University to find the cast for her movie. She soon finds that college students now days are much like their Western counterpart enjoying partying and being with friends. She has a difficult time finding the characters but soon finds DJ Sonia Karan Sukhi Laxman Ajay, and Aslam. They were going to play members of the Hindustan Socialists Republican Association. After some trials Sue makes the crew realize that they are doing more than a movie, they are reenacting their own history. Through making the movie and by their best friend dying during duty with the air force, they transform their perception about their country, empowerment and their inquilab. Then during a candle light visual for Ajay (air force pilot) Ajays mother is beaten to death by the police. Interesting enough, the students at this point realize Bhagat Singh’s writings.

In Bhagat Singh’s writing he warned about tyranny. Bhagat Singh explained that the changing of power from the White Sahib to the Brown Sahib, maybe would only pass the tyranny on. Thus the true empowerment of the people would be impossible. In the film, after the police beatings, the students understand the writings of Bhagat Singh, and the slogan Inquilab Zindabad. The revolution was not over nor a piece of history. The students decide to take action and destroy a radio station giving miss information. In their quest they are shot and killed by the police. Like during the HSRA movement, like the character the students played, all sacrificed their life for their revolution.

One very interesting aspects of this film is that it was partly made for a renascences in history. The main characters were like many contemporary Indian student. Because of this the movie spoke directly to students, reminding them of their lesser known or publicized history. The film also brought up the point that empowerment preached by revolutionaries of independence has not been met. And the revolution is not over, nor will be over until the goal is met. The phrase Inquilab Zindabad was used in the film numerous times, possibly with the hope that it will re-resonate with the youth, so that the dream of revolution and empowerment will not end.

Rand De Basanti

Sydney Blach
April 26, 2010
Bollywood; TR 3:30-4:45
Film Review #4

Rang De Basanti

Rang De Basanti is a unique story about a group of young friends living in India during the late 90’s and the journey they embark on, the lessons they learn, and the risks they take. While the film is set in the present, much reference to India’s past is referenced and introduced to the characters by the unsuspecting English woman, Sue. Sue is visiting India to fulfill her dream to make a film about the diary of her grandfather which tells the factual story about the prosecution of the group of Freedom Fighters led by Bhagat Singh. On her quest to create her movie, Sue befriended Sonia, a young Indian girl who introduces Sue to her country and serves as her assistant in making the dream of the film turn into a reality. Upon Sue’s arrival, the two hold auditions to find the perfect caste members to personify Bhagat Singh, Ramparasad Bismil, Rajguru, Ashfaqualla Khan, and Chandrashekhar Azad. After the grueling auditions, feeling a bit discouraged the girls decide to take a break from work and go to the “classroom” where Sue and the audience are introduced to DJ, Sukhi, Karan, and Aslam. After a night of introductions, partying and feasting Sue has an epitome that these are exactly the young men she is looking for to represent the freedom fighters in her film. Within this scene we are also introduced to Laxman who will also eventually be apart of the group despite that he is the one that breaks up the party at the “classroom” suggesting that this generation is hopeless as they are much too influenced by Western culture.
The next day the group gets to work but it is hard for them to focus because they are much too disconnected to the feelings the freedom fighters had, and the devotion they had for the country. It’s not until later in the film, after the death of Ajay, Sonia’s future husband and best friend to the group of boys, that there is passion and meaning behind the characters they are representing. Ajay was a flight lieutenant for the India Air Force, and was constantly telling the boys that no country is perfect, but he is proud to fight for his because he is proud of his country regardless. Despite his true patriotic nature and heroic deed in saving a village from death and destruction in exchange for his own death, the Defense Minister calls him a “rash pilot,” ultimately taking the blame off of himself and onto Ajay. These insults infuriate the group of friends, and just like the freedom fighters, they begin on a quest for revenge starting as a very peaceful protest against the corrupt government. They begin by holding a candlelight vigil in Ajay’s honor which is violently disrupted by the police sending Ajay’s elderly mother into a coma, and leaving Aslam viciously beaten. This is the very instance the morality of the group changes, inciting in them passion to be the change they want to see.
There is a clear transition in the film when we see DJ sleeping and Sue’s lap and Sue thinks to herself “maybe DJ wasn’t sleeping, maybe none of them were, maybe they were all waking up.” The last part of them film is about their transforming into the Freedom Fighter they were acting as in Sue’s film and the actions they take in order to seek justice from the government. The very next scene is a flashing between a conversation between Bhagat Singh and his men and DJ and his men on the top of the roof discussing what the only thing left to do is to kill the source of the problems. This is when the boys decide the best way to avenge Ajay’s death and the abuse they have received ever since in to kill the Defense Minister himself, and so they shoot him on his morning walk, and there is an uproar in the country about the terrorist acts. Disappointed with the reactions their actions receive, they then decide to broadcast over the radio and explain that the reason for the assassination was not an act of terrorism but instead an act of justice. When government officials get word that the Defense Minster’s assassinators are at the radio station they send patrol with the orders to kill them all. Police bombard the radio station in the midst of live news broadcasts and do exactly as told, first they shoot Sukhi, then Aslam and Laxman die next to one another, and last Karan and DJ are killed while sharing a last joke about the color of DJ and Sue’s kids’ skin.

Rang de Basanti

Kimberly Crater
Movie Review: Rang de Basanti
Rakesh Omprakash Mehra’s 2006 film, Rang de Basanti, combines the stories of a modern-day group of friends and a pre-independence era group of freedom fighters. Rang de Basanti was nominated and won several awards, including its nomination for an award in 2007 from the British Academy of Television and Arts.
Sue (Alice Patten) is a novice British filmmaker who, inspired by her grandfather’s journal, goes to India to make a documentary based on the lives of pre-independence freedom fighters, Chandrashekhar Azad (Aamir Khan), Bhagat Singh (Siddharth), Rajguru (Sharman Joshi), Ashfaqullah Khan (Kunal Kapoor) and Ramprasad Bismil (Atul Kulkarni). Sue’s grandfather had been an officer in the British army who captured, tortured and eventually killed some of the freedom fighters. Once in India, Sue meets a group of self-described rebels and casts them in her film. Daljeet/DJ becomes Azad, Karan R. Singhania is cast as Bhagat Singh, Sukhi as Rajguru, Aslam for Khan and Laxman as Bismil completes Sue’s cast. However, when their friend dies in plane crash due to faulty parts provided by the India government, the group of friends, who had once cared about nothing but drinking and staying out of trouble, begin to embody their historical counterparts in a plot to avenge their friend and inspire a generation.
Rang de Basanti is riddled with irony. Sue, who is quintessentially British, is the granddaughter of a colonial British jailer who worked against the revolutionary movement in the 1920s. Yet, Sue chastises DJ and his friends for not caring enough about their history. Despite her unforgettable connection to the colonial past, Sue lectures the boys on the importance of remembering the men who died for their freedom. However, as DJ, Karan and the others begin to embody their historical counterparts, Sue fades into the background of their lives. When they decide to kill the Defense Minister, Sue is noticeably absent from the meeting; even through it was her movie that inspired their bold decision.
DJ and his friends are, at first, carefree and uninterested in the problems facing their country. They are quick to join in the corruption as they bribe police officers to avoid punishment. Karan even excitedly anticipates going to America for school and leaving the problems of India. When Ajay enters as a patriotic pilot in the Indian Air Force, everyone seems eager to refute the notion that anyone would be willing to die for the country. Dejected, the boys imply that the corruption is rampant from the head of the government trickling down to even the local police force. Karan leads the others in a decisively anti-government, anti-army mentality. Ajay is the opposite believing that by joining the army; anyone could make a difference and fix what is wrong in the country. He is adamant that it would be an honor to die for the country. When his plane malfunctions due to substandard parts, Ajay proves his dedication to his country by sacrificing his life to save civilians. Following Ajay’s death and subsequent dishonoring by the government, DJ, Karan and their friends are inspired to fight the corruption and kill the Defense Minister and Karan’s father who they see as responsible for the faulty parts that led to Ajay’s plane crash. However, during Karan’s final speech at the radio station, he admits that killing the Defense Minster was not the best choice of action, acknowledging that politicians are elected by the people. Karan implores the youth to take appropriate actions to fight what they see as wrong in the country. Instead of murder, Karan encourages joining the military, police and take other government positions. News interviews near the end of the film showed that Karan succeeded to inspire a generation to do what he, just a few days prior, was steadfastly against. Despite blaming the government and military for Ajay’s death and the police for the beating of Ajay’s mother at a peaceful protest, Karan passionately pleads for people to join those agencies as a way to fight the corruption inherent within them.
Rang de Basanti is an inspiring political film taking aim at unbridled political corruption and the lackadaisical and apathetic attitude of the youth.
Works Cited
"Rang De Basanti (2006)." The Internet Movie Database (IMDb). Web. Apr. 2010.
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Rang De Basanti. Dir. Rakesh Mehra. Perf. Aamir Khan, Siddharth. 2006. DVD.

Rang De Basanti

Sabrina Lee

Laura Brueck

Rang De Basanti

April 26th, 2010

Ministers and Mothers

The popularity of Rang De Basanti is not surprising, it has everything most

Bollywood films do, but while being politically charged it takes a few steps away

from the typical formula which has been on display all semester. The most blatant

example is the inclusion of a foreigner that is not seen in a humorous light, the

only other instance of that being in Lagaan though it could be argued. One of the

main characters shoots his father, and violence is a major part but it is violence

directed at the state instead of for the overall interests of the state as they

appear to be. It could be argued they did it in the interest of the state, but

killing corrupt ministers is still something that brings the laws of a bollywood

film crashing down on their head by the end when gunned down at the All India Radio

station while Sue can do nothing but fret and worry in a taxi cab. The fact that

during the scenes with flight there is not actually very much centering around the

accident before it occurs makes the drama focus on the group of friends, more than

the crash itself though it might have had to do with the immense budget of staging a

scene like that without it looking entirely gimmicky like the bus crash scene in

Veer-Zara. The irony is that after seeing this film, it has been announced of

massive corruption in the biggest success of the biggest national sport, the IPL

involves a foreign minister in the government. The effects of the film are intended

to spark some desire in the middle class to enter into public service to change it

from the inside, but the desire not to be faced with the poverty that challenges so

many Indians may not be able to stand up to the emotional force of the movie. The

plot is slightly manipulative, namely the scene at the Delhi gate, where the mother

is beaten while mourning for her fighter pilot son? The romantic job of the fighter

pilot has long been on the imagination of many nations, and it is simple to pull at

the emotions of the audience when giving someone the light of a martyr, powerful and

effective for the plot of the movie which takes a bizarre turn after the patriotic

movie finishes filming. Sue could have had another ten minutes on screen after the

boys all died in the radio station where she releases the movie to grand reception,

but the nationalist streak takes hold and overrides the plot as it often does at the

end of any bollywood film as if it is a prerequisite. The standard plot that is fun

and games before intermission, and then a dark turn after also applies, which also

detracts slightly from the flow of how things were going. A story about people

became a story about the country, however the film about the Kakori robbery might as

well have been that element without the addition of making the death of fighter

pilots the fault of the Russians, and the Indian government. The US would not arm

countries that were becoming strong in the cold war without strategic interests,

thus India went with the better and more inexpensive Soviet government for defense,

and still does to this day as Pakistan receives huge amounts of military aide from

the US. The introspective look at the cost of being a modern power at the end of the

film felt forced, and more manipulation which cannot be blamed entirely on the

government. This film was released only years before the first Indian developed air

superiority fighter was announced, and newer migs are being bought but they

shouldn't be in active service, and that point of the film was well delivered I

felt. A mig-21 is generally a plane that has not even been in operation in Russia

for twenty years, so the argument of strategy of air power cannot be engaged when

pushed against the outrage present in the film. It is certainly a youth film, from

the poor and especially to middle class children of college age who are not certain

about their prospects in the country when being an diaspora in a more developed

country is such a tempting thing to be.

Rang De Basanti

Allie Padnos
Film Review
Rang De Basanti

Rang De Basanti is an inspiring political film that has made a tremendous impact on Bollywood cinema and society in India. Sue, an English woman, is introduced immediately in the film and we learn she is planning on making a documentary drama in India about the revolutionaries of the Indian independence movement that took place in the 1920’s. The documentary was structured around her Grandfathers Diary, who was a British officer during the revolutionist movement. Rang De Basanti is unique because there are two different coinciding stories occurring through out the movie. The parallelism is significant because one plot focuses on the historical events in the 1920’s, while the other plot is about college students who become inspired by the freedom fighters and the documentary they are creating. This film differentiates from other Bollywood productions since the focus is primarily on youth political war, but still displays typical themes of national identity/self-sacrifice, religion, and tradition.
When Sue arrives to India she meets up with her friend Sonia, and she is quickly introduced to Sonia’s boyfriend and group of guy friends. The close group of friends all attends a university, but display different college characteristics then typical Bollywood films since they do not spend time at school. Immaturity was displayed by the group of boys and they did not want to become part of reality and the real world since there days were full of having fun and partying. The group consisted of six males; DJ, who was very popular, Karan, who was the son of a man highly involved with the government, Aslam, the Muslim of the group, Sukhi, who was depicted as the baby of the group, Laxman, who believed the political system created betterment for India, and Ajay, a flight lieutenant for India. DJ developed a crush on Sue decided that the group would help act in her documentary. At first it was hard for Sue to create the movie since the boys were taking it as a joke and always goofing off in serious situations. She was astonished the college students knew very little about their Indian history. Half way through the film reality hit the group of boys which forever changed there lives, and led them to develop new characteristics and forced them to take on a new perspective on India.
The tragic death of Ajay created a huge impact on the group. Ajay died in a plane crash because the parts of the plane were poorly put together. He was a hero of India because he flew the plane elsewhere which prevented many deaths of innocent citizens, which displayed national pride and his honor of putting his nation before his own life. The Government depicted his death as reckless and non-heroic which degraded his honor of a flight lieutenant which tremendously upset his family, friends, and fiancée Sonia. The group used the documentary as inspiration and the fight for freedom seen in the 1920’s served as their foundation to politically fight the corruptness of the Government. Their mind-set drastically changed to the ideal of bettering the country through political movements to advocate change. In order to make the corruption apparent, the group had a memorial for Ajay in a populated public area. The Police started beating innocent people and even Laxman started to become aware of the corruption, which changed his initial standing point towards the Government. In order to create a bigger impact, the group decided to kill a head official of the Government, and then later announce they were the killers and what prompted them to become involved. This broadcast was done at the local radio headquarters. In the end the group of five was gunned down at the radio station, once they unfolded their story to the public. They truly self-sacrificed themselves for the betterment of the nation, which is a traditional Hindustani theme.
Religion was displayed in Rang De Basanti because there were scenes from the documentary showing how the freedom fighters would pray in jail to help them get through their harsh conditions. Also their publicly displayed memorial for Ajay was a religion reference. DJ’s mother was often seen praying throughout the film. Although Ajay appeared to be the only one with Hindustani values of the nation state in the beginning of the film, his friends proved they would die for their country in the end. The film showed self-sacrifice was evident for the group of people because they wanted change for the betterment of the people of India. The idea of self-sacrifice has been traditionally seen in Bollywood films.
The music was significantly different then any Bollywood film we have watched yet. It did not seem to emphasize the major themes of the film and was not sung by the actors. The music was recorded and would intensify the happiness of the group as they danced with each other. Overall the music did not add a significant effect to Rang De Basanti.
At first I did not like the film because it was complex to follow who everyone was in the beginning. I thought the first half was extremely slow, but once the second part started I changed my overall standing on the film. I ended up really liking Rang De Basanti because it was action packed and had a great structure in the second half. I did not like the music because I like the traditional type of singing and dancing. The making of the movie and special effects were very modern which made the film too western based influenced. I enjoyed the emphases on political corruption and the connection of traditional Bollywood thematic ideas. Overall Rang De Basanti took an interesting new direction in Bollywood film, making the film highly successful.

DDLJ

Grace Hennessy
HIND 2441
15 March 2010
Roja—Film Review
Released in 1992, originally as a Tamil film, Mani Ratnam’s Roja stars Arvind Swamy as Rishi Kumar and Madhoo as Roja. The movie opens to set the tone of the movie: a Kashmiri separatist group is being chased through the hills of Northern India by the Indian army and the capturing of Wasim Khan. The next scene cuts to a South Indian village, where happy melodies are being sung and the young Roja is shown dancing through fields and waterfalls with her younger sister. These two scenes, intentionally meant to contrast each other, set up the two plotlines within the movie: the threat of the Kashmiri separatist group and a love story. Rishi Kumar has travelled to Roja’s village to marry her older sister. However, after they meet, she begs him not to marry her because she has already promised her heart to someone else. Rishi cannot leave the village empty handed and humiliated, so he chooses Roja as his bride instead. The two are married and they move back to his flat in the city. Initially, Roja refuses to love Rishi because she believes she has stolen her sister’s groom, but after the confusion is cleared up, she becomes a devout lover. A week after their marriage, Rishi, a ‘cryptologist’ working for a government contractor, is sent to Kashmir, in place of his boss, to de-code messages being received from the separatist group. Roja insists that she comes along as well, and they treat it as a mock-honeymoon. Upon their arrival, Roja immediately notices the lack of people and military presence. Rishi explains that it is a dangerous place and that there is a curfew, drawing Roja closer to him. The night after they consummate their marriage, Roja heads to the temple to thank the gods for such a wonderful husband, and in looking for her, Rishi is captured by the same militant group. The rest of the movie focuses on the rescuing of Rishi from the group, and Roja’s battle against the military to save her husband. This part of the movie is compiled of scenes in which Rishi attempts to defend India’s honor while being held captive and Roja with the guide, Chajoo, pestering officers of many different ranks. The movie ends with the release of Rishi by softhearted terrorist Liaqat, and a grand reunion between Roja and Rishi.
Roja instills a strong sense of national pride within its Indian audience as well as a fear of Islam. It presents a one-sided account of the Kashmiri separatist group and fails to comment on the atrocities India has committed against Kashmiri civilians. The separatist group is represented as extremists and a threat to India’s well being. They are incapable of separating religion from state, or practicing religious tolerance, and are depicted as praying to Allah with their guns next to them. The scene introducing Kashmir in the movie is a compilation of scenes of a military base, bombs, and the group of terrorists doing their morning prayers alongside their automatics. The separatist group is further represented as irrational extremists when Liaqat reveals that they are fighting a ‘jihad’ and that they want to be separated from India. Rishi, who they have held captive, in hopes of the release of Wasim Khan, defends the Indian nation state at all opportunities. When held up to a recorder and told to ask for the release of Wasim Khan, Rishi responds ‘Jai Hind!’ repeatedly, even after severe beatings. The ultimate scene of Indian patriotism is a scene in which the Kashmiri separatists light an Indian flag on fire. Rishi runs out of the small hut, kicks the culprit in the face, and rolls on the Indian flag until the flames are transferred to his clothes. He then continues to fight the terrorist and the patriotic song by Subramania Bharati about the unity of India plays in the background.
After watching Roja I was somewhat put-off by the portrayal of Islam and the Kashmiri separatist group. The overall movie made me feel uncomfortable and it left me with the question of whether or not the film invoked the same feeling of national pride within its Muslim viewers as it Hindu ones.

Roja

Grace Hennessy

HIND 2441

15 March 2010

Roja—Film Review

Released in 1992, originally as a Tamil film, Mani Ratnam’s Roja stars Arvind Swamy as Rishi Kumar and Madhoo as Roja. The movie opens to set the tone of the movie: a Kashmiri separatist group is being chased through the hills of Northern India by the Indian army and the capturing of Wasim Khan. The next scene cuts to a South Indian village, where happy melodies are being sung and the young Roja is shown dancing through fields and waterfalls with her younger sister. These two scenes, intentionally meant to contrast each other, set up the two plotlines within the movie: the threat of the Kashmiri separatist group and a love story. Rishi Kumar has travelled to Roja’s village to marry her older sister. However, after they meet, she begs him not to marry her because she has already promised her heart to someone else. Rishi cannot leave the village empty handed and humiliated, so he chooses Roja as his bride instead. The two are married and they move back to his flat in the city. Initially, Roja refuses to love Rishi because she believes she has stolen her sister’s groom, but after the confusion is cleared up, she becomes a devout lover. A week after their marriage, Rishi, a ‘cryptologist’ working for a government contractor, is sent to Kashmir, in place of his boss, to de-code messages being received from the separatist group. Roja insists that she comes along as well, and they treat it as a mock-honeymoon. Upon their arrival, Roja immediately notices the lack of people and military presence. Rishi explains that it is a dangerous place and that there is a curfew, drawing Roja closer to him. The night after they consummate their marriage, Roja heads to the temple to thank the gods for such a wonderful husband, and in looking for her, Rishi is captured by the same militant group. The rest of the movie focuses on the rescuing of Rishi from the group, and Roja’s battle against the military to save her husband. This part of the movie is compiled of scenes in which Rishi attempts to defend India’s honor while being held captive and Roja with the guide, Chajoo, pestering officers of many different ranks. The movie ends with the release of Rishi by softhearted terrorist Liaqat, and a grand reunion between Roja and Rishi.

Roja instills a strong sense of national pride within its Indian audience as well as a fear of Islam. It presents a one-sided account of the Kashmiri separatist group and fails to comment on the atrocities India has committed against Kashmiri civilians. The separatist group is represented as extremists and a threat to India’s well being. They are incapable of separating religion from state, or practicing religious tolerance, and are depicted as praying to Allah with their guns next to them. The scene introducing Kashmir in the movie is a compilation of scenes of a military base, bombs, and the group of terrorists doing their morning prayers alongside their automatics. The separatist group is further represented as irrational extremists when Liaqat reveals that they are fighting a ‘jihad’ and that they want to be separated from India. Rishi, who they have held captive, in hopes of the release of Wasim Khan, defends the Indian nation state at all opportunities. When held up to a recorder and told to ask for the release of Wasim Khan, Rishi responds ‘Jai Hind!’ repeatedly, even after severe beatings. The ultimate scene of Indian patriotism is a scene in which the Kashmiri separatists light an Indian flag on fire. Rishi runs out of the small hut, kicks the culprit in the face, and rolls on the Indian flag until the flames are transferred to his clothes. He then continues to fight the terrorist and the patriotic song by Subramania Bharati about the unity of India plays in the background.

After watching Roja I was somewhat put-off by the portrayal of Islam and the Kashmiri separatist group. The overall movie made me feel uncomfortable and it left me with the question of whether or not the film invoked the same feeling of national pride within its Muslim viewers as it Hindu ones.

Lagaan

Kaely Mayes
April 10, 2010
HINDI 2441
Film Review


Lagaan

Lagaan was made in 2001 and was directed by Ashutosh Gowariker and produced by Aamir Khan, who also plays the main role of Bhuvan. There are also a few well-known English actors in this film, including Rachel Shelley and Paul Blackthorne (one of my all time favorite actors!!!!). In my personal opinion, I think that this is one of the best Hindi films I have seen to date. It has all the makings of a classic; with it’s romantic love story, Robin Hood theme and exciting sports match. It is a win for anyone!

Lagaan takes place in a small rural town called Champaner in 1893, during the height of the British rule in India. In order to maintain their military numbers and elicit loyalty from the Indian population the British implement a Lagaan, a tax. The villages have to give up a certain amount of goods to the Raja of their province, Puran Singh, who in turn gives the British the goods. Unfortunately the people under the Raja’s province are experiencing a drought and have very little to no crop yield. On behalf of his people the Raja contacts the commanding officer of the area, Captain Andrew Russell, and asks for a pardon on this years lagaan. Rusell will have none of that, the people received half lagaan last year for the same reason and so this year they must make up for it. Captain Russell gives the Raja an ultimatum; either pay double lagaan or take a bite of meat, which went against all of the Raja’s religious morals. The Raja had no choice but to decline and let his people know of the misfortune. This is a classic example of the underhanded ways of the British and their style of ruling over the Indian people. The Raja’s easy exceptance of the double lagaan is a testament to the Indian peoples compliancy to a dominating authority and gives the people a catalyst to empower themselves within a communal support system against their oppressor.

In panic over the impossible lagaan, the people of Champaner rush to see the Raja and beg him to talk again to the captain. During the visit they come upon the British playing cricket where Bhuvan then mocks the game and gets into a fight with one of the British officers. Taking an instant dislike to Bhuvan, Russell offers a bet to Bhuvan, Russell will cancel all the lagaan of the whole province for three years if the villagers can beat his men in a game of cricket. However, if the villagers lose, they will have to pay three times the lagaan. Bhuvan accepts this wager on the behalf of all villages without their consent. When the other villagers find out about the bet, they are furious with Bhuvan. It takes a lot of cajoling and lecturing to get people to agree to the idea. Soon enough people come forward to help Bhuvan fight the British rule, including his love interest Gauri. Bhuvan and his friends soon realize that while the game is a lot like a childhood game they actually have no idea how to play cricket. Fortunately, they are introduced to Elizabeth Russell, the Captain’s sister, who thinks that the bet was extremely unfair and decides to help the villagers understand the game of cricket. The coming together of these men parallels the idea of a unified India, not only against the British, but also unity as a secular state. We see the meshing of Muslims, Hindus and Sikhs, as they come together to defeat a common foe and within the “battle” bridge the gap of religion.

The villagers steadily began getting better at the game with Elizabeth’s help and they slowly discover that each player has a special ability. For example, one villager is amazing with a slingshot and thus when he is bowler he is very accurate. Another is the untouchable Kachra who can put a crazy backspin on the ball when he throws with his deform hand. Also, there is a mute temple drummer who has huge muscles and thus can hit the ball very far. This is overall a very ragtag group. There is one bad tomato in the group though, Lakha, who in jealously over Gauri’s love of Bhuvan, decides to sabotage the game by reporting any progresses to Captain Russell. He also uncovers Elizabeth’s helping the villagers to Russell and when the big game day comes he purposefully doesn’t play well. Later that night, after a long day of Cricket and losing their best players they come to realize Lakha’s treachery. It is only thanks to Bhuvan calm level head does Lakha come out alive. He is shown the error of his way and the next day he shows his true talents and is instrument in the British’s sudden batting collapse. As a team they battle to the very end on the third and final day, ending in Bhuvan’s hard hit and the victory to the Indian people. Bhuvan's defeat of the British team leads to the disbanding of the humiliated cantonment. In addition, Russell is forced to pay the two years worth of taxes for the whole province out of pocket and is transferred to Central Africa. As they the villagers start celebrating the victory a miracle happens, the clouds open up in a torrential downpour. Thus insuring that the villagers will have a crop all to themselves that year.

This film is a blend of a “David verse Goliath” and “East verse West” theme. It is the show of the poor and traditional peasants battling the larger western oppression, which results in a strengthened Indian pride and provides a model/icon in which people can look to for support in their own battles. It is also a prompt for other provinces to fight back against the wrongs done to them. This battle is not only shown through victory, it is seen in the course of the game. This a especially see through their field techniques. The British are extremely well organized, are well practiced and are of superior skill. Yet, in the end it means little for victory, for the British have very unsportsmanlike conduct and they do not mind cheating, creating both physical and emotional pain. The villagers are totally disorganized, especially during the beginning of the game and slowly began to gain a handle of the workings of Cricket. Even though they lack the skill and experience, they have a burning passion for victory that is stronger than just being well practiced. They play with their heart, not just their heads and that is what guaranties their victory.

Rang De Basanti

Laine Bulakites

HIND 2441

April 25^th, 2010

Rang De Basanti Review

Rang De Basanti, directed by Rakesh Omprakash Mehra, was an incredible film. This drama was unlike any other Hindi film I have ever seen. In English, the title means Paint it Yellow. The color yellow in India represents sacrifice, so before even starting the film the audience knows that the characters will have to give up something huge.

The film revolves around a British filmmaker, Sue, who is insistent upon making a “documentary” of freedom fighters in India as recorded by her grandfather. She travels to India and with the help of her friend, Sonia (Soha Ali Khan), Sue casts her men: DJ as Chandrashekhar Azad (Aamir Khan), Karan as Bhagat Singh (Siddharth), Sukhi as Rajguru (Sharman Joshi), Aslam as Ashfaqulla Khan (Kunal Kapoor), and Laxman as Ramprasad Bismil (Atul Kulkarni). Additionally, Sue’s friend Sonia plays Durga Vohra.

While they are making their film, Sonia’s fiancé Ajay is killed when his own plane crashes. The death is a wakeup call to the men – they blame the government for the death of their friend. When they hold a peaceful protest/memorial in public, the police come and things get bloody. This is the last straw for the five men and Sonia, and their lives start looking very parallel to the lives of their characters when they decide to kill the defense minister.

After the deed is done, the group of men takes over a local radio station and Karan explains their reasoning for killing the corrupt defense minister. We also learn that Karan has killed his own father for being involved in the scandal as well. While they are on the air, the police raid the building and kill all five men. The last shot of the scene is of DJ and Karan laughing hysterically before the police shoot them. We find out at the end of the movie that their sacrifice has sparked a fire in India’s citizens to reform their government.

The film was received very well by the critics and by citizens alike. Part of the movie that the public loved was that it finally depicted the youth of India, which is something that was very rarely seen before. In the beginning of the film, the characters don’t think that they can do anything about their country. They believe that nothing can make it better. However, when Ajay dies, their outlook changes. They realize that they have to take action to change their country for the better.

The scene of realization was my favorite scene in the movie. We had already seen the “documentary” characters act out the scene, and the audience got déjà vu when the group of friends is talking about what to do, and Sonia says, “Maar dalo.” (Kill him.) The scene then contrasts the pictures of the young group of friends with their documentary counterparts.

The soundtrack in the movie was also very different. The movie had no blatant song-dance sequences – there was music playing, and they were dancing, but the actors weren’t pretending that they were the ones singing. The music was very Western and youthful and fit the characters perfectly. For example, when the police are raiding the radio station near the end of the film, the song “Roobaroo” plays in the background. The lyrics say “I just realized that I have a fire inside me somewhere / It’s a new morning and I am aflame / I overpowered the sun / I’m face to face with light.” The song is fairly calm and happy, which corresponds with the group’s acceptance and knowledge of their sacrifice they are about to make.

An obvious theme in the Rang De Basanti is nationalism. Even though the group of friends kills the defense minister, their reasoning makes it apparent that they in fact did it out of nationalism. They saw the corrupt government kill their friend (and many other people) and knew that they needed to change something. Their sacrifice of themselves was the biggest act of nationalism one could commit. All five of the men gave their lives for the hope of a better country.

Overall, Rang De Basanti was a fantastic movie. The movie made around $30 million [U.S. dollars]. It sparked a fire and struck a chord in the citizens of India, especially the youth. It was a breakthrough film that was unlike anything I have seen from Hindi cinema before, and it worked extremely well for the director Mehra.

Rang De Basanti

Rakesh Omprakash Mehra’s Rang De Basanti (2006) is by far one of my favorite non-traditional Bollywood movies. It is a touching, inspiring, and overall very captivating film. Although somewhat shocking at times, the movie is more realistic than others we have seen in this class.

One of the film's strongest points was the way it was shot. Every scene was exciting and kept the audience interested; this was achieved through the director's excellent use of angles and other creative techniques. Intense actions were sometimes sped up or slowed down, and close-up shots were also used to enhance the tension in these scenes. The film was shot in a very new style for Bollywood that hadn't been used much (or very efficiently) before this movie.

Aside from the camera effects, I also enjoyed the entire soundtrack of Rang De Basanti. Every song conveyed a different emotion, and together they gave the movie Bollywood's usual "spicy" feel. There were songs meant to make you cry, laugh, and even jump up and dance. Personally, I felt some of the songs gave me a rebellious feeling; I wanted to fight against the injustice in the world just listening to "Khoon Chala," although I have no idea where I would begin. One song that makes me want to cry every time I hear it is "Luka Chuppi," because of the depressing words put together with music meant for a lullaby. These two, along with every other song in the movie, made up for any faults that could have ruined this film for me.

For the reasons stated above, Rang De Basanti is one of my favorite movies in Hindi cinema. I did not like the fact that the boys killed the minister and Karan murdered his own father; I feel these were extreme actions that were not necessary. Besides this, I have no complaints about this film. I think India needed a movie like this to awaken the new generation of struggling youth trying to find a way to fit into the world and make a difference in their country, which is in desperate need for improvement.

Veer Zaara

Most movies in Bollywood have one specific focus, but also indirectly include other concepts in the storyline. Yash Chopra’s Veer Zaara (2004) is a good example of this; it brings up conflicts between India and Pakistan in a much more direct way than most movies before it had, while at the same time addressing women's rights in South Asia.

It may be difficult to avoid bias in a movie as controversial as Veer Zaara; however, many scenes in the movie make it quite clear that it has been made by Indians. India is shown in a positive light in every scene shot there, whereas Pakistan plays a more negative and depressing role throughout the movie. For example, Veer's parents are happy and supportive every time they appear in the movie; Zaara, on the other hand, has a money-minded father who cares more about his own reputation than his own daughter. Her mother is shown to be very submissive to her husband and seems to accept the fact that she will always love him more than he loves her. This is not the case with Veer's mother, who is an independent woman that has control over her husband; this and Veer's father's opening of a girl's school in their village both suggest that India is much further in the battle against the oppression of women. The only strong, happy, and independent Pakistani women shown in the entire movie are Zaara and Samia; Zaara moves to India for the second half of her life, and Samia is not shown to have much nationalist pride, mostly due to the women's rights issues in her country. In the end, Veer and Zaara are both content with leaving Pakistan, and there is no effort put into making Pakistan look like it is as good of a country to live in as India is.

The main character may not be the typical Bollywood hero, but the only difference is that he is Sikh instead of Hindu. This does not, however, compensate for the fact that Muslims are still shown as the inferior community. Veer and Zaara both come from well-off, powerful families in their respective communities. They are both the only children of their parents, and they are raised to be respectful and hard-working, yet also fun-loving. Everything about them seems to be the same, except for the fact that the Sikh parents are sweet and caring, whereas the Muslim parents are harder to connect with. This ties in with the India vs. Pakistan issue; it is essentially the same problem. This could have been avoided, however; religion did not have to be included in the movie. Both Veer and Zaara could have followed the same faith, since Pakistan and India cannot be divided into two separate religious communities, all Muslims and all non-Muslims.

Apart from the biased viewpoint on important social issues, Veer Zaara also has a very disappointing love story. In my opinion, there should be a limit on how dramatic a movie should be, even for Bollywood. Two complete strangers giving up 22 years of their lives for the two days they knew each other seems a little over-the-top cheesy to me. What makes the story even more ridiculous is the fact that Zaara falls in love with one line from Veer, stating that he would die for her, and she accepts this without question.

The one aspect of this movie that I enjoyed was the soundtrack; the songs are all well-written and beautifully composed. "Aisa Des Hai Mera" was a good song to promote the idea that India and Pakistan are very much alike, and that it is pointless for these countries to fight so much. Unfortunately, this point was not supported by a strong storyline. Still, this and the other ten songs take up a good part of the movie, making it a little more bearable.

Overall, I did not like Veer Zaara; it was disappointing in more than one way. It may have won four Filmfare awards and been nominated for many more, but I believe it had a lot of room for improvement. It could have been less biased, less focused on religion, and more believable for me to have enjoyed it. I feel it was an embarrassment for Bollywood, and it should not have received as much attention as it did.

Veer Zaara

Uday Reddy

The story of India’s independence is a bittersweet one. On one hand, Hindustan is finally free from British oppression. On the other hand, the problems of partition threatened to destroy the nation. The creation of Pakistan, while welcomed by the Muslims, only served to divide India. Inter-religious violence soon ensued and millions of people were displaced. The memory of partition is still strong in Indian minds. Veer-Zaara, despite being filmed in 2004 by Yash Chopra, stirs up images of violence and turmoil in post-independence India. The film was widely successful not just within India, but also abroad which is unconventional due to the subject matter.
Veer-Zaara, set in partition-era India and Pakistan, tells the love story between an Indian Air Force Squadron Leader, Veer Pratap Sing (Shah Rukh Khan), and Zaara Khan, a Pakistani girl from Lahore. The story begins when the fiery Zaara fulfils the dying wish of her Bebe, despite knowing that her parents would absolutely forbid it. Her Bebe, who appears to be a family servant that migrated to Lahore with the Khans, asks her to take her ashes and return them to India. It is on this trip, that Zaara meets Squadron Leader Singh. Her bus crashes on the way to the river that she was traveling to, and Squadron Leader Singh repels down and rescues her. She happens to drop her bag, and forces Singh to go back down and get it. It is for good reason though, as in the bag are her Bebe’s ashes. After returning to solid ground, Veer Pratap Sing volunteers to escort Zaara to her destination so she arrives safe and sound. On the way, he persuades her to visit his village. He is returning home after a long tour of duty with the Air Force only for Lodi, a local traditional holiday.
After arriving, the duo is greeted with open arms. Zaara is mistaken to be Veer’s bride, only furthers the foreshadowing of the love interest between the two. During her stay, she notices that Veer’s aunt and uncle, who raised him, have put up a school in the village but only the boys were allowed to study properly there. She petitions to the uncle and melts his heart so much, that he dedicates the groundbreaking to Zaara. He gives a speech about how she inspired him to realize equality, a central theme in Veer-Zaara. After learning that Zaara is engaged, Veer professes his love to her and she returns to Lahore unsure of what to do.
She explains her feelings to her mother who instantly disagrees with her. She is Pakistani and must marry another Pakistani. Her father overhears this news and emphasizes this point, and also notes that she must marry his political ally’s son to strengthen the political bonds of the family. One thing to note is that Veer’s parents are completely open and accepting of the fact that Zaara is Pakistani. This demonstrates the Indian bias the film has. India is shown to be more modern and progressive thinking than Pakistan. They put up schools for women and promote inter-religious marriage, while the Pakistanis are shown as shovanistic and resistant to change.
Veer-Zaara wears its core themes on its sleeves. Obvious ideas of equality and women’s rights are shown constantly throughout the movie. It also blatantly portrays India as the “better” nation, but it also subdues tensions between the two nations by showing Pakistan change towards the end of the movie, although they try to keep it more of a love story than an India versus Pakistan movie. All in all I think this is one of the better movies of the semester because it is not as cliché as the others, and never seemed to drag that much.