Faith accompli

M. L. Dhawan on how the subject of communal harmony has inspired many a filmmaker 

IN our country where there are many religions and cultures, the theme of unity in diversity has often been of interest to filmmakers who have used this subject in their films. Incidents of terror, too, have often inspired many a filmmaker to make films on the subject of communal harmony. A recent film that has handled this delicate subject is Precept Pictures’ Firaaq, directed by Nandita Das, which is based on the infamous Godhra carnage that took place in 2002. The film deals with the emotions of people in the aftermath of the riots. The film explores the fears and anxiety in human relationships during such trying times. While the film questions our prejudices, it also celebrates the triumph of grit over odds.

Nandita Das’ Firaaq, based on the Godhra carnage of 2002, deals with
 Nandita Das’ Firaaq, based on the Godhra carnage of 2002, deals with the emotions of people in the aftermath of the riots 

Sarika in a still from Rahul Dholakia’s Parzania
Sarika in a still from Rahul Dholakia’s Parzania

Rahul Dholakia’s Parzania (2007) was also based on the Godhra riots. It is the story of a Parsi couple, played by Naseeruddin Shah and Sarika, who are searching for their son who got missing during the riots. The film brings forth the insensitive face of the police and callous administration. However, beneath this carnage, a story of compassion writes itself as an American gives shelter to the Parsi couple and a Muslim girl stops her kin from retaliating.

Yash Chopra’s Veer-Zaara (2004) gave the message that India and Pakistan should break shackles of the past and come together to forge a new bond. When Squadron Leader Veer Pratap Singh (Shah Rukh Khan) rescues a Pakistani girl Zaara Hayat Khan (Preity Zinta) who has come to India to perform the last rites of her Sikh nanny, a cross-cultural wedding seems imminent. Destiny beckons Veer to Pakistan where he is captured as an Indian spy. Zaara’s well being is the price for his silence and he rots in a Pakistani jail for 22 years before opening his heart to lawyer Saamiya Sidiqui (Rani Mukherji) who battles the establishment for his release and succeeds in uniting the lovers.

In Sarfarosh (1999), John Mathew Matthan debunked the view that Muslims living in India favour Pakistan. In the film, Salim (Mukesh Rishi), an honest police officer, feels victimised when he is replaced by a Hindu ACP — Ajay Rathore (Aamir Khan) to nab a Pakistani terrorist. Despite this humiliation, Salim joins hands with Rathore and together they succeed in getting hold of those spreading terrorism.

In Mani Ratnam’s Bombay (1995), religious fanatics object to the Muslim girl Shakeela Banu’s (Manisha Koirala) marriage to a Hindu boy-Shekhar (Arvind Swami). The couple’s children barely escape being burnt alive by rioters who ask them to tell their religion. The film made a fervent appeal for communal harmony.

Garam Hawa (1973) was among the most thoughtful films made on the trauma of Partition and the anxiety of Muslims. The family of Salim (Balraj Sahni), a shoemaker, plunges into despair when it loses its property, fearing immigration to new Pakistan. Their daughter commits suicide after her marriage fails twice with the suitors who abandon her to emigrate. Little by little, family and friends emigrate ‘there’ and the decision to leave is taken. On way to the railway station, the family comes across a demonstration advocating the unity of all irrespective of caste and religion. The father and son decide to remain in India.

Yash Chopra’s Dharamputra (1961) was a film on the Hindu-Muslim relations at the time of Partition. An illegitimate Muslim child is adopted by a Hindu family. As he reaches adulthood, the youth (Shashi Kapoor) becomes a Hindu fanatic. The film reaches its climax when he leads a mob which sets out to burn the ancestral mansion of his real family. When he comes to know the truth about himself, he suffers from an identity crisis.

In Dhool Ka Phool (1959), B.R. Chopra created an entertaining format to get his message of communal harmony across. When old Muslim Abdul Rasheed (Manmohan Krishan) finds a child in a forest, he brings him up. As he grows up, he tells the boy not to adhere to any particular religion saying, "Tu Hindu banega na Musalman banegaa/Insaan ki aulaad hai insaan banega".

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