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International Research Journal of Management Sociology & Humanities International Research Journal of Management Sociology & Humanities ISSN 2277 – 9809 (online) ISSN 2348 - 9359 (Print) An Internationally Indexed Peer Reviewed & Refereed Journal Shri Param Hans Education & Research Foundation Trust www.IRJMSH.com www.SPHERT.org Published by iSaRa Solutions IRJMSH Vol 8 Issue 6 [Year 2017] ISSN 2277 – 9809 (0nline) 2348–9359 (Print) Crossing over the border: cinematic imaginations Kaveri Bedi Introduction The history of the mostly acrimonious relation between India and Pakistan stems from the traumatic event of partition that played itself out in ‘all its gory’ and violence around the area surrounding the Radcliff line that was drawn hastily by the British lawyer Sir Cyril Radcliff in August 1947. With barely five weeks between start and finish, Radcliff had to chair not one but two boundary commissions: one for Bengal in the east, another for the Punjab in the westv(Jisha Menon). In August 1947, the labour pains prior to the birth of the fraternal twins-Indian and Pakistan were intense, prolonged and tumultuous leading to a situation in which roughly one million people died, ten to twelve million were displaced, thousands of women were raped and property suffered a staggering loss. In the weeks leading up to August 14-15th, communal violence began to break out across India. Hindus, Muslims, and Sikhs were forced from their homes and ancestral lands as the new border was drawn between India and Pakistan. Upon Partition, the situation worsened with trains full of refugees that were going either way across the border, being attacked and finally arriving at their destinations full of corpses. While the official narratives from both sides of the border focused on erasing the traumatic memories attached to their birth- owing primarily to the exigencies of the post-partition nation building process; from within the literary field however, there were several attempts at re- imaging and re-negotiating the memories of the partition. Literary artists from both sides of the border have felt compelled to relive their hurt through a recall of their own experiences of the partition including writers like Saadat Hasan Manto, Intezar Hussain and Amrita Pritam. One such piece that encapsulates the experience of the partition related trauma is Amrita Pritam’s Punjabi dirge Aaj aakhaan Waaris Shah nu: Speak up from your grave From your book of love unfurl A new and different page 105 One daughter of Punjab did scream You covered your walls with your laments Millions of daughters weep today And call out to Waris Shah Arise you chronicler of our inner pain And look now at your Punjab The forests are littered with corpses And blood flows down the Chenab.’ The poem appeals to Waris Shah, the legendary Punjabi poet who wrote the most popular version of the Punjabi love tragedy, Heer Ranjha entitled Heer in 1776. Through this poem, Amrita Pritam uses the imagery of a daughter- Heer, metaphoric for all the daughters of Punjab International Research Journal of Management Sociology & Humanity ( IRJMSH ) Page 89 www.irjmsh.com IRJMSH Vol 8 Issue 6 [Year 2017] ISSN 2277 – 9809 (0nline) 2348–9359 (Print) crying out for justice, as she appeals to Shah to arise from his grave, record Punjab’s tragedy and take up the pen again. Chandra Prakash Dwivedi’s Pinjar: Beyond borders (2003) opens with these words wherein, the melancholia and lamentation of the metaphoric Heer (as played by Urmila Matondkar in the film) is being punctuated through sound, music and visuals. This film imagines the partition through the agency of the female protagonist focusing particularly at the experience of psychological and physical violence that is experienced by her. The film analyzes the female protagonist who, after having painfully experienced the border, gathers the strength to finally cross it, no longer being sole victims of the partition, but also active subjects of their newly defined communities Claudia Preckel (2008: 85). The aim of this paper is to pay attention to the narratives of visual border crossings between India and Pakistan as imagined through Hindi films and the meanings attached to the same. The focus would be on engaging with the filming of the event of crossing the physical border between India and Pakistan by understanding how the same has been portrayed and articulated. In so doing, the paper pays attention to the visualization and articulation of iconography, landscapes, spaces, culture and ideology on both sides of the border so as to find the cinematic articulation of similarities and differences. That is, by looking closely at both the narratives of difference and similarity vis-à-vis Pakistan, the paper would attempt to gauge the varying notions of Indian national identity alongside finding the intertext between the same and the changing socio-political dynamics between India and Pakistan and those within the Indian nation with respect to Hindus and Muslims. A call “Borders are Everywhere” by Etienne Balibar (2002) has became widely accepted in the academia going by which, one could argue to find (in)visible borders at spaces like cinema halls, international conferences/events, international airports etc. At the same time it could be asserted here that one could also find borders fading or getting blurred at the very same places and spaces. Taking from this argument, the paper would be delving into how borders are both pronounced and punctuated through the cinematic visualizations of cross-border movements as well as diminished, blurred and transcended. For this purpose, the paper would be divided into two main sections: the first section would be exploring the films that engage with a transcendental imagination of the border wherein, the filmic narratives articulate and portray elements like similitude/ resemblance between the two nations with regards to the people, culture, religion, traditions and on narratives that focus on breaking of stereotypes. Here, the paper would be primarily looking at films like – Heena (Randhir Kapoor 1991), Main Hoon Na (Farah Khan 2004), Veer Zaara (Yash Chopra 2004), Filmistaan (Nitin Kakkar 2014), Kya Dilli Kya Lahore (Vijay Raaz, 2014) and Bajrangi Bhaijaan (Kabir Khan 2015). It will be argued that similitude becomes the key to identity formation wherein, by tracing resemblance primarily between the cultures and ideologies on either sides of the border, the films attempt to accentuate an Indian nationalism that is naturally accommodative, pacifist, sacrificing and secular. The second section would be looking at films that construct differences that further accentuate the binary between the Indian ‘us’ and the Pakistani ‘other’. In so doing, the section would be engaging with films like Gadar-Ek Prem Katha (Anil Sharma, 2001), Hero: Love story of a Spy International Research Journal of Management Sociology & Humanity ( IRJMSH ) Page 90 www.irjmsh.com IRJMSH Vol 8 Issue 6 [Year 2017] ISSN 2277 – 9809 (0nline) 2348–9359 (Print) (Anil Sharma, 2003), Agent Vinod (Sriram Raghavan, 2012) and D-Day (Nikhil Advani, 2013). This section would also be looking at films like Border (J.P. Dutta 1997) and Lakshya (Farhan Akhtar 2004) with respect to how the space of the border is imagined and performed through these films and thus narratively constructed as a territory in need of tight border controls and protection that needs to be militarized and securitized. In this sense, the aim of this section is to find how such imaginations of the border have assisted in constructing a national consciousness that rests upon eulogizing notions of militarized and securitized borders and borderlands. Imagination of the border Lieutenant Karan Shergill (Hritik Roshan) stands at the edge of the border landscape between Indian and Pakistan in the Kargil region in the film Lakshya (Farhan Akhtar 2004). Accompanied by his Indian Muslim army captain, Jalal Akbar, Karan is driven to the LoC to be shown what he is to defend as part of his duties as an officer of the Indian armed forces. The camera films a long shot over the top right angle of the Indian chowki (army bunker) and looks across into the distance at the Pakistani chowki. A mid shot remains on the protagonist- Karan as he stands captivated by sight of the physical geography in front of him, demarcated as Pakistan by a Pakistani bunker. The sequence of this scene is composed of silent and natural diegetic physical sounds like that of the wind whistling through the mountains and the insertion of non- diegetic music as the overall sequence implicitly invokes the image of a nation in need of necessary and tight border controls and protection (Bharat 2008). A visibly mesmerized Karan (denoting the middle class Hindu male) pauses and exclaims: ‘I have always known, but somehow..I’ve never felt this Indian before (Pauses as he looks on) I’m an Indian’. This scene is telling of the moments in recent popular Hindi cinema, through which the border is conveyed on-screen through audio and visual gestures, and how it comes to signify certain kinds of understandings that are created by filmmakers for possible kinds of interpretation by Bollywood audiences. Such an imagination and articulation of the border as sites that need state control wherein, the performitivity of control by the Indian soldiers punctuates the Indian versus Pakistani binary, has been a glaring feature in most of the ‘war films’ that were made starting with Border (J.P. Dutta 1997) including LoC- Kargil (J.P. Dutta 2003), Ab Tumhare Hawale Hain Watan Saathiyon (Anil Sharma 2004), Tango Charlie
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