Humanizing Terrorism in Indian Cinema
Humanizing Terrorism in Indian Cinema
A closer look at Mani Ratnam’s Roja and Dil Se
Nationalism, as professor Sumita Chakravarty describes it, is the “integrity of the nation-state and the imagined belongingness of its citizens (Chakravarty, 2000).” This notion of nationalism and nationwide unity has been a recurrent theme in the films explored in the course South Asian Cinema. Many of the films have been interpreted as national allegories, as they have been made to mirror the realities of India. Tukaram, the classic tale of Maharashtra’s admired saint poet, explores oppression by traditions, worldliness and social rules. He faces multiple trials throughout the film, but finally with persistence and his physical, mental and spiritual strength, he prevails and social order is reinstated. In Shree 420, the struggle is against the dominant society that is driven by money and greed. Raj is shown to encounter various trials and tribulations that he too, is able to overcome. India is shown to be a modern post-colonial nation that belongs to its people, no matter rich or poor. When movies like Sholay and Coolie were released, the audience saw the useless state that was virtually absent during the suffering of its people. In these conditions the vigilante figure arose and the protagonists were shown to take the law into their own hands and rescue the nation. But these films too showed a sort of nationalism, in that the true power of the country was in the hands of its people; the nation belongs to everyone, and everyone should enjoy it. These Bollywood films seemed to pacify the spectators, as they were reassured that a happy ending is possible and that everyone can live together happily, regardless of social status, race or religion.
These wonders of nationalism, however, seem to be short-lived, as there is inevitable tension contained within the concept itself
A closer look at Mani Ratnam’s Roja and Dil Se
Nationalism, as professor Sumita Chakravarty describes it, is the “integrity of the nation-state and the imagined belongingness of its citizens (Chakravarty, 2000).” This notion of nationalism and nationwide unity has been a recurrent theme in the films explored in the course South Asian Cinema. Many of the films have been interpreted as national allegories, as they have been made to mirror the realities of India. Tukaram, the classic tale of Maharashtra’s admired saint poet, explores oppression by traditions, worldliness and social rules. He faces multiple trials throughout the film, but finally with persistence and his physical, mental and spiritual strength, he prevails and social order is reinstated. In Shree 420, the struggle is against the dominant society that is driven by money and greed. Raj is shown to encounter various trials and tribulations that he too, is able to overcome. India is shown to be a modern post-colonial nation that belongs to its people, no matter rich or poor. When movies like Sholay and Coolie were released, the audience saw the useless state that was virtually absent during the suffering of its people. In these conditions the vigilante figure arose and the protagonists were shown to take the law into their own hands and rescue the nation. But these films too showed a sort of nationalism, in that the true power of the country was in the hands of its people; the nation belongs to everyone, and everyone should enjoy it. These Bollywood films seemed to pacify the spectators, as they were reassured that a happy ending is possible and that everyone can live together happily, regardless of social status, race or religion.
These wonders of nationalism, however, seem to be short-lived, as there is inevitable tension contained within the concept itself
Cited: Chakravarty, Sumita S. "Fragmenting the Nation: Images of Terrorism in Indian Popular Cinema." Cinema & Nation. Ed. Mette Hjort and Scott Mackenzie. London: Routledge, 2000. 209-35. Corse, Sarah M. Nationalism and Literature. Cambridge: Cambridge UP, 2001. Gupta, Dipak K. "Exploring Roots of Terrorism." Root Causes of Terrorism: Myths, Reality and Ways Forward. Ed. Bjorgo Tore. Oxon: Routledge, 2005. 16-32. Elaine, Martin. "The Global Phenomenon of 'Humanizing ' Terrorism in Literature and Cinema." Comparative Literature and Culture 9.1 (2007). Purdue University. Web. Mani Ratnam 's Interview. Prod. CDTV. Jan. 2008. Web. 17 Oct. 2010. . Parida, Subhas C., and Sasmita Nayak. Empowerment of Women in India. Daryaganj: Northern Book Centre, 2009. Sumit, Ganguly. The Crisis in Kashmir: Portents of War, Hopes of Peace. Cambridge: Syndicate of the University of Cambridge and The Woodrow Wilson Center, 1997.