Bollywood Archives - The Common Man Speaks

Difference between Film Journalism & Entertainment Journalism

May 31, 2020 by Keyur Seta 1 Comment

As we all know, film journalism involves giving information about films. It is largely about writing news and feature articles about movies, taking interviews of people associated with films and giving movie reviews.

In other words, film journalism is aimed at people who share a deep interest in films and who would like to get more information or knowledge on films and people associated with films.

The following are examples of articles that fall under the film journalism category:

— Will release films in theatres, but only when we’re comfortable, says director Kabir Khan

— Marathi horror film Lapachhapi gets a Hindi remake with Chhori

— Vidhu Vinod Responds to Kashmiri Students’ Critique of Shikara

— How a pair of folk puppets inspired Shoojit Sircar’s comedy Gulabo Sitabo

But the definition of film journalism has gone through a major change with the advent of online journalism over the last decade. This has given rise to a different branch of film journalism called ‘entertainment journalism.’ This is seen the most in websites that are completely dedicated to movies.

The definition of entertainment journalism is simple – to keep your readers or viewers entertained. Instead of giving information about films or cinema, it is about keeping your audience hooked with ‘stories’ about stars and superstars. More often than not, these stories are personal stories about famous people, which have nothing to do with cinema. And there is no place for faces that are not famous.

Some examples of entertainment journalism include:

— The best and the worst airport looks of 2020

— The super cute Taimur Ali Khan greets paparazzi saying ‘Aye Bhai Log’

— Hina Khan’s hot bikini pics have set the internet on fire

— How cute! Deepika Padukone has saved Ranveer Singh’s number in her phone as ‘ Handsome ’

— Neha Dhupia’s daughter interrupting her live Roadies Audition is the most adorable moment of the day

Going by the kind of news shared above, you must have understood that the only aim of entertainment journalism is to get page-views. In fact, it’s a battle on the internet for clicks between major and minor publications. And the only way to win the battle is by putting the kind of sensational or exciting content that would compel people to click on the link.

Also read: Hardik Pandya comments: We are channelizing our anger in the wrong direction

Along with such content, what works very well on the internet is glamorous pictures of actresses with skin show. The more skin show the more clicks. So, an actress sharing a hot picture on Instagram is news in today’s times. Then there are also photo galleries where all the glamorous pictures are dumped for someone to view them together.

It is understandable that a section of movie lovers abhor such content being dished out in the name of film journalism. This is completely understandable. And it is obvious that they slam these publications and their reporters for putting up such ‘news.’

However, it would be unfair to blame them. Trust me, almost every film reporter or journalist I know hates writing such stuff. There are people who entered this field to write about movies but had to be content with writing about Taimur. Even their bosses and the management personally don’t like bombarding such content to their readers.

So, why do they carry such content? The answer is simple. It is these news bits that give the maximum number of page-views. As hard as it may sound, page-views is the whole and soul for websites. Even for this, the editors and owners can’t be blamed.

The pressure is immense in today’s world where there are hundreds of movie websites. Hence, the only way to survive is to get page-views. People from the media would be aware about the dark period that’s going on in the profession. A long list of journalists have lost their jobs in the lockdown so far all over India. Such is the financial crunch in the media right now.

So, it is up to the readers. If they stop consuming news about Taimur eating an ice-cream and start giving page-views to concrete cinema news, there will be a complete change. It is in their hands to decide what would be published on cinema news portals.

Forgotten Cricket Moments: The real Lagaan match at Brabourne Stadium

April 12, 2020 by Keyur Seta 1 Comment

Ashutosh Gowariker’s Lagaan (2001) remains of the most iconic and exciting films to have come out of not just Hindi but Indian cinema. Even after more than 15 years, the Aamir Khan and Gracy Singh-starrer still gets you in extreme tension when Bhuvan is required to hit a six off the last ball, despite you knowing the climax.

Needless to say, the atmosphere inside the theatre was similar to the one we see in cricket stadiums. So one can only imagine what would have happened when the entire Lagaan team played a real cricket match at the iconic Brabourne Stadium in Mumbai.

There is a major chance that you might not be aware of this match because, somehow, it never got publicized. More so for those who have recently turned adults or are in their early 20s.

So, Britannia had organized a match between the Lagaan team versus the team of winners of a contest they had run. Hence, the other team was called simply Britannia. I had also taken part but didn’t win. But that didn’t stop me from watching the match in the stadium.

Surprisingly, you didn’t need to spend a rupee for the tickets. All you needed was to submit four packets of their biscuits in exchange for a ticket. I and a friend went to watch after submitting eight. Well, frankly speaking, we wouldn’t have mind to even pay to see the Lagaan team in action.

Interestingly, the match was played on Christmas, a festival which few years down the line was acquired by Aamir to release his films.

Like the on-screen match, the Lagaan team fielded first. I don’t remember who won the toss but it wouldn’t have been exciting if they had batted first. It was a 25-over match where the boundaries were brought in considerably and understandingly so since none of them were professional players. By the way, the entire Lagaan team played in the same costume they had worn in the film.

But instead of 11, both teams had 13 players. The Lagaan team included Gowariker himself and actor Amin Gazi, who played Tipu in the film, to complete a 13-member side.

Team Britannia was bowled out for 96 inside their stipulated 25 overs. We all thought that this would be a cakewalk for team Lagaan but Britannia bowlers had other plans. Team Lagaan kept losing wickets and at one point were seven down with the team still being some way away from the target.

In the end, it was Gowariker and Aamir who saw the team through by scoring 18 and 19 runs respectively. The entire crowd, including me and my friend, was overjoyed and dancing to the song ‘Mitwa.’

Other interesting bit about this match was the star Indian players like Rahul Dravid, Sourav Ganguly and Virendra Sehwag switched roles as commentators and umpires. Navjot Singh Sidhu and Maninder Singh were permanent commentators. The commentary played a big role in keeping us entertained.

Aamir Khan Lagaan match — Photo: Tribuneindia.com

But there was another unprecedented excitement after the match. After some great encouragement by my friend, I agreed to climb and jump a wall and land right where the Lagaan team was standing after the match [I still don’t know how he knew the way]. It was a sheer delight to shake hands with few team members, including Aamir. It was also nice to know that he was shorter than me.

But today when I look back at the match after 19 years I wonder if it was staged [read: fixed]. Even if it was, I don’t blame the organizers. Just imagine what a waste it would have been if Lagaan team had lost the match.

Unfortunately, there is no way we can revisit the match to determine that as there is not a single video available. In fact, there are very few news articles as well.

Amitabh Bachchan’s voiceover in the film describes the story as – Yeh kahani itihaas ke panno mein kahin kho gayi [This story has got lost in history].

The same can be said about the real Lagaan match.

Is Chhapaak a box office disaster?

January 18, 2020 by Keyur Seta Leave a Comment

Chhapaak wasn’t the first film that was asked to be boycotted by people of a certain political ideology after Deepika Padukone joined the students protesting at JNU. But the film has become the first such ‘boycotted’ film that hasn’t succeeded at the box office.

There have been various reports and posts on social media floating around about the film being a ‘box office disaster’ or a ‘washout’ at the ticket window. Well, the film is certainly not a box office success but at the same time it won’t be right to label it as a debacle. Here’s how.

There is something called the budget of a film. We media people have our sources and they tell us that Chhapaak is made at a budget of around Rs 30 to 35 crore.

In case you don’t want to believe our sources, try thinking that the film had only one known name, which is Padukone. There aren’t any expensive sets or VFX heavy scenes. The film is also not shot at some exotic foreign locations. I hope this proves that it’s not an expensive film.

BoxOfficeIndia.com is considered the most reliable source for box office collections. As per them, Chhapaak has earned Rs 26.50 crore nett till yesterday [Saturday 17 January 2020]. It made Rs 75 lakh yesterday [other box office websites will also give you a very similar number].

The film still has five days in the second week, including Saturday and Sunday, before two prominent films Panga and Street Dancer 3D release on 24 January.

So, in all probability it looks like Chhapaak will end its box office run at either its cost of production or just short of it.

Hence, if a film earns exactly as much as its cost of production, it is called below average or at the most flop. Words like ‘disaster’ and ‘washout’ are reserved for films like Panipat and Kalank which are made in over Rs 100 crore but end up way short of it.

We should also take into account that the subject of Chhapaak is extremely niche. A film on an acid-attack victim can best be termed as a festival film. You won’t see family or college-going audience flocking the theatres to watch such a film.

People who feel that the film hasn’t performed well at the box office because Padukone’s act got the film ‘boycotted’ are mistaken. On the contrary, Chhapaak has earned such a number because it stars a popular name like Padukone.

Last year, a film called Gone Kesh showed the journey of a girl who suffers from premature baldness. It starred a lesser-known name like Shweta Tripathi [not undermining her talent at all]. It was a light-hearted film which was fairly appreciated by the critics.

But as it didn’t have a single known name, it simply went unnoticed at the box office.

I am also able to see that the same people who have been rubbishing off Chhapaak as a ‘disaster’ are also hailing Tanhaji: The Unsung Warrior as a ‘blockbuster.’ This is the only reason I am dragging this historical here.

Now let’s look at this from the budget point of view. The Ajay Devgn-starrer is made at a budget of Rs 150 crore. Till yesterday, it has made a total of Rs 125 crore nett. Hence, it hasn’t even become a hit yet. It surely will become, going by its trend and word-of-mouth. But it hasn’t yet.

Additional reading:

Why people in their 30s should stop believing they are 70

Hellaro (Gujarati movie) Review

Saturday Nights Review: Deep statement on loneliness in a crowded city

October 29, 2019 by Keyur Seta Leave a Comment

Lives of sex workers or prostitutes, as they are called, offer a lot of scope for storytelling in cinema. That’s precisely the reason why characters of sex workers are explored in films across languages and genres.

Director Shibu Sable’s short film Saturday Nights is also based inside the chamber of a prostitute. However, it’s not just any other story based on one.

The film tells the story of Vishwas (Sable himself), a middle-class and middle-aged widower staying in a humble colony in Mumbai. People from his locality gossip about him visiting a prostitute’s den every Saturday night.

They are right. Vishwas does spend his Saturday nights in the apartment of the call-girl Tara (Pradnya Manwatkar). But there is a twist here. Vishwas isn’t like any of her customers.

During the starting portions of Saturday Nights, you wonder where this 14-minute film will lead to as the two protagonists start chatting. But soon enough the twist in Vishwas’s tale wins you over.

Through his character, the film makes a deep and powerful statement on loneliness. The city of Mumbai, or any other metro in India, is overcrowded with people. Yet a lot of people don’t have a single person in their life to whom they can pour their heart out, especially without getting judged.

The moment when Tara asks Vishwas the reason for visiting her and he replies with, “Halka hone,” is the moment of the film. Similarly, the film says a lot without saying much. Having said this, they should have delved a little deeper into the back story of Vishwas, like they have done for Tara. This would have helped the audience in feeling more for him.

Both Sable and Manwatkar perfectly get into the skin of their respective characters. Sable has been and filmmaker and writer and this time he has ventured into acting. Manwatkar has a proven track record in theatre.

Overall, Saturday Nights is a moving take on loneliness in an overcrowded city.

Director: Shibu Sable

Writers: Jaidev Hammady and Shibu Sable

Cast: Shibu Sable and Pradnya Manwatkar

Rating: 4 out of 5

By: Keyur Seta

Watch the short film:

Additional reading:

Saaho’s major similarity with Baahubali (SPOILERS alert)

Saaho’s major similarity with Baahubali (SPOILERS alert)

September 1, 2019 by Keyur Seta 2 Comments

Prabhas’ last film Baahubali: The Conclusion (2017) went onto become a historic hit all over India and gave the actor a star status nationwide. Obviously, there was a keen interest to see him again on screen. His fans had to wait for more than two years to see Prabhas in action (literally) in director Sujeeth’s Saaho, which released this week.

From the trailers or the posters itself, Saaho looked way different from the two Baahubali movies. One is based few centuries ago while the other in today’s times. The earlier film gave importance to traditional Indian culture [because of its setting and era] while Saaho is about modern cars, bikes and clothes.

But what if I tell you that Saaho becomes like another Baahubali by the time it ends?

Let’s look at the basic plot of Baahubali. Amarendra Baahubali is the rightful heir to the throne of the fictitious empire of Mahishmati but his enemies, who are people close to him, get him killed. Years later, his son Mahendra Baahubali eliminates the bad guys and acquires the throne.

Now, this is what the story of Saaho looks like minus the many twists and sub-plots (SPOILERS ahead). Roy is heading his multimillionaire business in a fictitious city called Waaji. He gets killed by people close to him. Later on, his son finishes off the villains and sits on the chair of the owner of the company.

Now, I really wonder if the makers didn’t care about it or didn’t realize. Of course, it has to be the former.

But there are also a couple of other sequences in Saaho that remind us of Baahubali. The scene where Prabhas and Shraddha Kapoor are seen shooting the bad guys together instantly reminds you of the famous bow and arrow scene between Prabhas and Anushka Shetty in Baahubali.

The scene in the first Baahubali where hundreds of dangerous looking men speaking Kilikili language attack Amarendra Baahubali is still fresh in our minds. Similarly, in Saaho, hundreds of unusual blood-thirsty devils are seen attacking Prabhas.

Also read: Mission Mangal Review

The one major difference between Baahubali and Saaho is its content, but that’s a story for another day.

By: Keyur Seta

Mission Mangal Review – A joyride about India’s space achievement

August 18, 2019 by Keyur Seta 1 Comment

Director Jagan Shetty’s Mission Mangal revolves around the launch of India’s Mars Orbiter Mission (MOM), also known as Mangalyaan, which was launched in November 2013. India thus became the first nation in the world to successfully send a spacecraft to Mars in the first attempt itself.

The mission involved some painstaking efforts by a group of ISRO’s scientists led by Rakesh Dhawan (Akshay Kumar) and Tara (Vidya Balan) and their team consisting of Kritika (Taapsee Pannu), Neha (Kirti Kulhari), Varsha (Nithya Menen), Eka (Sonakshi Sinha), Parmeshwar (Sharman Joshi) and H G Dattatreya (Ananth Iyer).

The team had to battle various odds in the form of a senior ISRO member (Dalip Tahil) and lack of funds and confidence from the government. They had their various personal battles to counter as well.

Mission Mangal gives a proper explanation of the relevance of MOM, the process of launching it and its last stage. All this might sound very technical for a layman. But the film is nowhere near technical.

It is, in fact, a joyride. The narrative is filled with moments that get you in splits regularly. This is done through situations and character habits and traits. Many a times a funny moment arrives when you least expect it. The surprise inclusion of ‘Ankhiyaan Milaaun Kabhi Ankhiyaan Churaun’ by Sanjay Kapoor’s character himself is a masterstroke!

However, despite the humorous moments, Mission Mangal ensures that the seriousness of the topic is never lost whatsoever. Throughout the film, special care has been taken to explain space related scientific workings in a manner that even a person with poor scientific knowledge like me can easily understand. I had laughed at the puri scene in the trailer but realized that it perfectly fits the situation in the film to provide an easy explanation for a layman.

The combination of easy information and humour is enough to keep you glued for its duration of 133 minutes, which passes in a jiffy. And the moments in the finale keep you at the edge despite the fact that you are well aware that the mission will eventually become successful.

Having said this, there are few factors that bother you. The biggest one is that we haven’t been given any background about Akshay’s character. Considering he is the main lead, it was necessary. Few conversations from the subplot of few characters could also have been avoided. Thankfully, none of these fall in the major negative point zone.

Mission Mangal has an ensemble cast and not every character has got proper space, which is not surprising. But each character is given an interesting story and arc of its own (except Akshay, as mentioned above).

Every actor has risen to the occasion. Despite no character background, Akshay Kumar provides a fine mixture of seriousness and humour. This is easily one of his most noteworthy acts. Vidya Balan once again proves why she is the best of the current lot of actresses. She is adorable once again. Dalip Tahil makes his presence felt as an unusual antagonist.

It’s good to see Sharman Joshi in a mainstream film after long. He displays an undercurrent of humour and never overdoes it. The rest of the team members provide perfect support, especially the senior most Ananth Iyer.

Overall: Mission Mangal is a joyride that celebrates India’s space achievement. It will be argued that the makers have made it into a filmi affair. But as it is a feature film and, more importantly, succeeds in doing justice to the achievement of ISRO at the same time, it doesn’t turn out to be a problem.

Also read: How to donate for Maharashtra flood victims?

The film has had a good opening and it seems Mission Mangal will be a success at the box office. Akshay has never had a Rs 200 crore film. This is his good chance.

Rating: 4 out of 5

Review by: Keyur Seta

6 noteworthy moments from Article 15

June 30, 2019 by Keyur Seta Leave a Comment

Director Anubhav Sinha’s Article 15 is largely about the atrocities faced by people belonging to the backward castes. But the Ayushmann Khurrana starrer also has a lot of layers and the film ends up saying a lot without actually saying much. The end result is disturbing but at the same time positive as well.

It will be worth revisiting 6 noteworthy aspects from Article 15:

Urban-rural divide
A city bred person might get a jolt when he or she witnesses the way of living and norms of a rural area. The same happens when the protagonist Ayan Ranjan [Khurrana] is posted in a remote village in Uttar Pradesh. He is shocked to see such strict practice of caste even in 2019, including the practice of not even letting the shadow of the ‘untouchables’ touch you. Article 15 doesn’t shy away from showcasing such stark reality of ‘modern’ India.

Still proud to be an Indian
Ayan Ranjan’s situation is very much like many of us. He is disturbed and disgusted to see the reality of India and is ready to expose it in front of everyone. However, he is still proud to be an Indian, like he tells her wife on phone.

It reminded me of the scene in Ashutosh Gowariker’s Swades where Shah Rukh Khan’s character says, “Main nahin maanta humara desh duniya ka sabse mahaan desh hai.” But deep down, he cares for the nation and agrees to leave US for it.

Ignorance is bliss?
There is a scene where Khurrana is wondering as to how people around him can behave normal and quite happy despite the gruesome crime that has taken place in the village. This is reflective of how a section of the population is turning a blind eye on various issues under the garb of nationalism these days.

Horning out castesim
Khurrana asks the caste of a vendor but her answer is overturned by the loud horn of a passing truck. This is an impressively creative way of giving a message that anybody’s caste isn’t important.

Ambedkar’s presence
The teachings of Dr Babasaheb Ambedkar has been hardly explored by mainstream Hindi cinema over the decades. We have had biopics on various leaders but none on him. This is a surprise since Ambedkar has had a lion’s share in the making of the Constitution Of India, the very book on which the idea of India is based. Article 15 fills the much needed void.

Heroic entry
The high point of the film for me is the entry of Article 15. The arrival of the document produces the same effect that a mass hero does when he makes a heroic entry. The words under Article 15 and the playing of ‘Vande Mataram’ in the background will always be unforgettable.

Additional reading:

Short Story: Caste Away

By: Keyur Seta

Finally, a chance to revisit Kapil Dev’s 175, which hardly anybody has seen

May 26, 2019 by Keyur Seta 1 Comment

Legendary all-rounder Kapil Dev served team India for 16 years. The biggest moment of his career was winning the 1983 World Cup for India. Before the start of the tournament in England, very few would have counted India as one of the favourites to lift the trophy.

But even if they did, hardly anyone would have betted on them after they were dismissed for a mere 183 in the final at Lords against the deadly West Indies. The opponents had won both the World Cups before this one and this looked like a cake walk. But the result ensured jubilation among Indians and shock among the West Indians [that rhymed!] as the latter were bowled out for just 140.

Dev’s second biggest achievement ever, at least in my personal opinion, came in the same series against Zimbabwe, a team that was making its first international appearance. Those growing up in the 1990s would remember Zimbabweans giving a tough time to the Indians on numerous occasions.

Not many would know that Zimbabwe marked their entry into international cricket in an astounding fashion in the 1983 World Cup. The team went onto beat the strong Australian side in their first match of the WC [which was also their first international match ever] by 13 runs. Duncan Fletcher gave an all-round performance of 69 not out with the bat and 4 for 42 with the ball.

Kapil Dev 175 — Kapil Dev during his innings of 175 not out against Zimbabwe. [Photo: Cricketaddictor.com]

Although they lost their next three matches, one couldn’t take them lightly after their debut match.

India had beaten Zimbabwe by five wickets earlier in the series [every team played two matches against all teams in the league round], so they had the upper hand before the start of their second match against them at Turnbridge Wells. However, the start they had after choosing to bat was more than horrible.

After being 17 for 5, India was later reduced to 78 for 7. It looked like they might go down in the dumps but Dev had other plans. He came in when they was reeling at 9 for 4. He took full charge of the situation and not only rescued the team but also went onto score the highest ever ODI score then of 175 not out with 16 fours and 6 sixes.

India finished with 266 for 8, a score that never looked possible in any way before. Zimbabwe were bowled out for 235.

This is easily one of the most memorable matches for India even today. However, what is truly unfortunate is that the match was not telecast as the broadcasters were on strike that day. This means that it wasn’t recorded ever to revisit later! All we have is few pictures of Dev playing some big shots. Sad indeed!

But there is some glimmer of hope of watching at least the dramatized version of the match in the upcoming Hindi movie ’83. Directed by Kabir Khan, the film will feature India’s journey to the 1983 World Cup victory.

The victory against Zimbabwe is an important part of the series for India, so it has to be there in the film. Dev, whose character will be essayed by Ranveer Singh, has been roped in by the makers as an advisor for the film. I am sure he remembers the match, including his innings, well and will help in recreating it.

Also read: He was selected for 1983 WC, but had to wait till ‘99 to play for India

What makes us more hopeful is that the makers recently revealed that they will be shooting at Turnbridge Wells, the venue where India played Zimbabwe.

By: Keyur Seta

Badla Review

March 9, 2019 by Keyur Seta Leave a Comment

In my review of Kahaani (2012), (read it HERE) I had said that there is a dearth of high quality, edge-of-the-seat mystery thrillers in mainstream Hindi cinema and the Vidya Balan starrer filled the void. The next thriller I loved after that film to that extent is Badla. It took seven long years!

Interestingly, both are directed by Sujoy Ghosh and released on the same date: 9 March.

Badla is the official remake of the Spanish movie The Invisible Guest (2016). The story revolves around Naina Sethi (Taapsee Pannu). She is a business tycoon staying in London with her husband and daughter. She is accused of killing Arjun (Tony Luke), with whom she had had an extra-marital affair, in a hotel room far away from London.

Naina’s lawyer sends senior advocate Badal Gupta (Amitabh Bachchan) to fight her case. She pleads innocent. According to her, a blackmailer had demanded a large amount of money from her and called her and Arjun to the hotel. But someone killed Arjun and knocked her unconscious. Gupta wonders if he should believe Naina’s version.

The film takes place inside a house in the form of the meeting between Naina and Gupta in a span of three hours. The story keeps going in flashback. The most important ingredient in a mystery thriller is to keep the audience glued. Badla does that exceedingly well. The makers have given the screenplay credit to the writer of the original film Oriol Paulo.

The film also scores high in the dialogues, characterization and the technical aspects.

In addition you are kept guessing continuously. We are given a couple of hints in between about the main mystery, but not enough to become a spoiler. Such thrillers tend to become lukewarm in the second half. It doesn’t quite happen here, although the length could have been reduced slightly post-interval.

The revelation of the main mystery in the end does give you a jolt even if you have almost guessed it. The problem is that it appears a bit far-fetched which might not go with a section of the audience. It worked for me though.

The performances are first rate. Taapsee Pannu has added another feather in her cap after this act. She succeeds in the difficult task of keeping you guessing about her intentions. Amitabh Bachchan also lives up to his image and switches between being intense and funny with remarkable ease.

Taapsee and Bachchan share an impressive chemistry of a different kind. The mind games played by the two keeps you hooked and, at times, in splits.

Despite the presence of the two main characters, Amrita Singh comes out as a winner all the way. Debutant Tony Luke appears at ease despite being around experienced actors. He is a talent to watch out for. Manav Kaul gets noticed despite limited screen time.

Overall: Badla succeeds in satisfying the thriller lover in you. The film has taken a decent opening at the box office. It stands a good chance of earning respectable collections over the days.

Rating: 4 out of 5

Review by: Keyur Seta

Director: Sujoy Ghosh

Producers: Red Chillies Entertainment and Azure Entertainment

Writers: Oriol Paulo, Sujoy Ghosh and Raj Vasant

Cast: Amitabh Bachchan, Taapsee Pannu, Amrita Singh, Tony Luke

Genre: Mystery thriller

Runtime: 120 minutes

Pulwama row: Why the climax of Border is more relevant today

February 28, 2019 by Keyur Seta Leave a Comment

The Pulwama terrorist attack on 14 February, which killed at least 40 Indian police personnel, has triggered tensions between India and Pakistan yet again. The tragedy of the incident has increased manifolds after the disgusting behaviour of television news anchors and the countless hate-mongering social media posts.

The news anchors sitting inside the security and comfort of their air-conditioned studios have been literally demanding a war on Pakistan ever since Pulwama incident happened. A large number of the audiences watching such ‘shows’ in equally secure homes have been demanding the same and sharing posts that give an idea as if life is just a movie or a video game for them.

Of all the social media posts and memes that are shared post Pulwama attack, the prominent ones are from the Hindi film Border (1997) by J P Dutta. It is the ultimate war film that keeps lingering in the minds of the masses of India whenever a war-like situation erupts.

Short videos of scenes from the film start getting shared on social media and What’s App. Some of the prominent ones are Sunny Deol’s character’s passion to win the war, his famous Mathuradas moment, Jackie Shroff, as the Indian Air Force officer, blowing up enemies from the sky and the song ‘Hindustan,’ to name a few.

But the most defining moment of the film is its last six minutes, which somehow doesn’t pop up in people’s minds. I am yet to come across a single post or video about that portion of the film. I am sure some of you might still not be able to recall it.

The film ends with the song ‘Mere Dushman, Mere Bhai,’ which shows the horrors of war. The lyrics and its visuals make it loud and clear that war can only be ugly and devastating. The family members of soldiers are seen devastated by the loss of a son, father or brother. Something we can’t imagine while ‘demanding’ a war without the danger of losing a loved one.

Here is one example of the heart-penetrating lines of Javed Akhtar:

Hum Apne Apne Kheton Mein Gehun Ki Jagah Chawal Ki Jagah Yeh Bandooke Kyun Bote Hain
Jab Dono Hi Ki Galiyon Mein Kuchh Bhooke Bachche Rote Hain

No doubt, today Border is considered quite jingoistic, loud and, at times, silly. But we have forgotten that it actually ends by giving a message that war is never the answer and nobody gains from it. I wonder how such a profound message got lost over time. Or maybe we are conditioned to conveniently forget it?

In one of the scenes of the songs, Deol is seen saluting a dead Pakistani soldier. The frame freezes with the flags of both India and Pakistan on the screen.

I get a jolt when I compare this with the posts about ‘wiping out’ the entire Pakistan and that too by people whom I used to consider sane all these years.

By: Keyur Seta

Watch the song: