06-04-2004, 02:13 AM
<b>Cinema as ideology </b>
Utpal Kumar
"A Hindu can argue with words but can't fight with his sword for his religion," observed Alberuni when he arrived in India along with plundering hordes of Ghazni. This statement still holds true, but for the Indian media, Hindu fundamentalism poses a serious threat to the very existence of minorities. They bash the Hindus in the garb of democracy. In a world where projections are shown as the reality it is not surprising that there is no demarcating line between the real and the virtual.
Despite its reputation as the hub of frothy tear-jerkers, the Mumbai film industry has always possessed social conscience: From Raj Kapoor's subtle sense of socialism (Nehruvian influence) to Amitabh Bachchan's anti-establishment posture following Mrs Gandhi's Emergency. Even the return of romance in Indian cinema with a sense of optimism can be seen in relation to India's fruitful entry into the competitive world of globalisation and getting rid of 'sterile socialism'. However, with this, the concept of "nationalism" and 'Hindu fundamentalism' too came into focus.
So, it is hardly surprising if a Hindu is shown as a terrorist; the only obstacle to amicable relations between India and Pakistan, in Shah Rukh Khan's latest film Main Hoon Na, notwithstanding the fact that not a single Hindu terrorist organisation exists in this country. Had it been so there would have been sundry terrorist groups among Kashmiri Hindus, as no less than four lakh Pandits have been forced to leave the Valley. The Gujarat riots were an aberration; but they also discouraged taking Hindus for granted. The basic upbringing of Hindus, their fundamental ideology and, of course, the last thousand years of 'Dhimmitude' stands in the way of any such development.
<b>In a sense, Main Hoon Na can be compared with Khalid Mohammed's Fiza and Aparna Sen's Mr & Mrs Iyer. Fiza had a clear message-you can't expect justice in the land of Hindus and jihad is the only possible recourse for Muslims. Similarly, Mr & Mrs Iyer projected Jews, Hindus and Muslims in contrasting colours. While Jews and Hindus were shown as narrow fundamentalists, Muslims were projected as either the victims of Hindu fundamentalism or as suave, progressive and moderate citizens. </b>
Now the broader question: What is the reason behind the growing bonhomie between India and Pakistan? It is not that good sense has suddenly prevailed in Pakistan. Nor that the arguments of Track II diplomats is gaining latitude. The aggressive foreign policy adopted by the Vajpayee Government after the Pokhran nuclear tests and its coming out in flying colours, did demoralise the Pakistani leadership. Moreover, the splendid performance of the Indian cricket team against Pakistan too ended the Pakistani superiority myth. All hopes of peace depend on India's strength. Goodwill and noble ideals should play second fiddle in international relations. But, in the ultimate analysis, what matters is the national interest.
It is said cinema holds a mirror to society. But in India, it is more a vehicle of dominant ideology-Leftist in orientation and allegedly liberal in outlook. It is more an instrument of a 'select few'. Indian media in general and cinema in particular needs to abstain from projecting any dominant ideology and the temptation to wear the veil of political correctness.
Utpal Kumar
"A Hindu can argue with words but can't fight with his sword for his religion," observed Alberuni when he arrived in India along with plundering hordes of Ghazni. This statement still holds true, but for the Indian media, Hindu fundamentalism poses a serious threat to the very existence of minorities. They bash the Hindus in the garb of democracy. In a world where projections are shown as the reality it is not surprising that there is no demarcating line between the real and the virtual.
Despite its reputation as the hub of frothy tear-jerkers, the Mumbai film industry has always possessed social conscience: From Raj Kapoor's subtle sense of socialism (Nehruvian influence) to Amitabh Bachchan's anti-establishment posture following Mrs Gandhi's Emergency. Even the return of romance in Indian cinema with a sense of optimism can be seen in relation to India's fruitful entry into the competitive world of globalisation and getting rid of 'sterile socialism'. However, with this, the concept of "nationalism" and 'Hindu fundamentalism' too came into focus.
So, it is hardly surprising if a Hindu is shown as a terrorist; the only obstacle to amicable relations between India and Pakistan, in Shah Rukh Khan's latest film Main Hoon Na, notwithstanding the fact that not a single Hindu terrorist organisation exists in this country. Had it been so there would have been sundry terrorist groups among Kashmiri Hindus, as no less than four lakh Pandits have been forced to leave the Valley. The Gujarat riots were an aberration; but they also discouraged taking Hindus for granted. The basic upbringing of Hindus, their fundamental ideology and, of course, the last thousand years of 'Dhimmitude' stands in the way of any such development.
<b>In a sense, Main Hoon Na can be compared with Khalid Mohammed's Fiza and Aparna Sen's Mr & Mrs Iyer. Fiza had a clear message-you can't expect justice in the land of Hindus and jihad is the only possible recourse for Muslims. Similarly, Mr & Mrs Iyer projected Jews, Hindus and Muslims in contrasting colours. While Jews and Hindus were shown as narrow fundamentalists, Muslims were projected as either the victims of Hindu fundamentalism or as suave, progressive and moderate citizens. </b>
Now the broader question: What is the reason behind the growing bonhomie between India and Pakistan? It is not that good sense has suddenly prevailed in Pakistan. Nor that the arguments of Track II diplomats is gaining latitude. The aggressive foreign policy adopted by the Vajpayee Government after the Pokhran nuclear tests and its coming out in flying colours, did demoralise the Pakistani leadership. Moreover, the splendid performance of the Indian cricket team against Pakistan too ended the Pakistani superiority myth. All hopes of peace depend on India's strength. Goodwill and noble ideals should play second fiddle in international relations. But, in the ultimate analysis, what matters is the national interest.
It is said cinema holds a mirror to society. But in India, it is more a vehicle of dominant ideology-Leftist in orientation and allegedly liberal in outlook. It is more an instrument of a 'select few'. Indian media in general and cinema in particular needs to abstain from projecting any dominant ideology and the temptation to wear the veil of political correctness.
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