Tag Archives: Vidhu Vinod Chopra

Shikara – The Untold Story of Kashmiri Pundits

A movie about Kashmir is a natural magnet for me, since my mother was born and brought up in Srinagar. I’ve grown up listening to her stories of this Shangri-La, where every garden bloomed with apple and cherry trees, and where nature was like a gorgeous and generous mother, her bounty of fruit and flowers overflowing on the bosom of a land crisscrossed by crystalline streams and clear blue lakes.

The exodus of my mother’s side of the family from Kashmir during the Partition of India and Pakistan in 1947 wasn’t considered a permanent separation. Like most Kashmiri refugees at the time, they considered themselves Kashmiris first, and Punjabis, second. They were sure things would settle down, treaties would be signed, a peace accord reached, and they would be able to return to their homes, and their beloved Kashmir.

Shikara is a movie about the flight of Kashmiri Pandits to India in the early 1990’s. The same journey my mother’s family had undertaken in 1947 was repeating itself with a different population in 1990, but with a similar, sadly predictable ending – no one gets to go back once a land is dipped in the bloodletting hatred of communalism.

Sadia Khateeb and Aadil Khan in Shikara

The movie begins in the late 1980’s when unrest is beginning to heat up. The two newcomers who play the lead, Aadil Khan and Sadia Khateeb, are a delightful, romantic pair, and the movie diffuses the brutal, bloody violence of strife between Hindus and Muslims through the soft prism of their young, idealistic love.  Aadil Khan plays Shiv Kumar Dhar, who falls in love with Shanti (Khateeb) after accidentally being paired with her as an extra during a movie shoot in Srinagar. 

This thread of an eternal love story which survives the cruelties and trauma of communal violence by clinging fiercely to each other is one frame of the movie. The other frame is the thousands of letters, one every day, that Shiv writes to the President of America to plead for help when they become stateless refugees. 

In the first half we see the innocence and beauty of an era where Shiv’s best friend, Lateef Lone (Zain Khan Durrani) is the messenger who carries Shiv’s declaration of infatuation to Shanti. Their wedding is simple, involving immediate friends and family and Shiv insists on including Lateef and his father (whom he calls Abbajaan) in his family wedding photo. We see the young couple endearingly in love, finding the perfect place to build their own house, and Lateef’s father bringing stones for the foundation of their future home from his own land. Hindu or Muslim, they are Kashmiri’s first. 

Shiv is a dreamy poet who’s working on his PHD in Literature and plans to teach, while Shanti is content being a housewife and doting on him. Their little piece of paradise is shattered by the death of Lateef’s father, Abbajaan, in one of those ‘unfortunate incidents’ which are all too common in Kashmir – a trigger happy government force fires on a peaceful protest. This trauma turns Lateef into a terrorist, determined to exact revenge for his father’s death, and aligned with the cause of the Mujahedeen who want to make Kashmir an all Islamic state.

The movie tries to depict both sides of this thorny issue, but the weight of suffering is clearly on the Kashmiri Pandit end. Director Vidhu Vinod Chopra tries to bring balance by depicting both the ‘good’ Muslim neighbors (who help the Dhars escape when violence escalates) and the ‘bad’ ones (their doodhwaala who openly eyes their house, informing Shanti that he plans to move in when they leave, and then enters and squats illegally once they’re gone). But we are clearly primed to sympathize with the minority Pandits and their burning homes. 

The movie has some very poignant, cinematic moments which capture the pain of forced displacement – the exodus in crowded, overladen buses and cars which jams the highway to Jammu; an old man at the Jammu refugee camp crying incessantly that he wants to go back to his home in Srinagar; and incident when a truck, laden with tomatoes to distribute to the refugees, makes the state of beggary they have been reduced to painfully clear to Shiv and Shanti.

However, Shiv and Shanti’s idyllic love story, which is the prism through which we view the movie, has the reverse effect of diluting its primary message – the loss of dignity and trauma, the displaced feel, and the government’s apathy to the plight of permanent refugees; their helplessness in the face of the political forces twisting an individual’s destiny. It romanticizes and simplifies the experience of becoming a refugee refuge by creating a dream like quality to the narrative, especially in the second half.

The narrative also leaves gaping holes in the story, which beg for answers: 

Why have these refugee camps become permanent? How and where did most of those who decide to leave the camp resettle? How culpable were the Indian forces in stoking anti-India hatred by their excesses. What about Pakistan’s involvement in creating terrorism? Chopra doesn’t address any of these issues throbbing in the foreground of Shiv and Shanti’s invincible love story.

Shikara is an enjoyable, melancholy love story, which doesn’t ask any gritty questions or deliver thoughtful answers—it deals with emotions, but in a sanitized, over romanticized way. Aadil Khan and Sadia carry it on the backs of their excellent performances, and obvious chemistry. It’s watchable, but not memorable.

I would give it two and half stars. Four stars for the actors! Now on Amazon Prime.


Jyoti Minocha is an DC-based educator and writer who holds a Masters in Creative Writing from Johns Hopkins, and is working on a novel about the Partition.

#LetLoveBe — On a New Road

The first two months of 2019 are seeing the release of two films — Ek Ladki Ko Dekha To Aisa Laga and Evening Shadows that may just open up the conversation around same-sex relationships in Indian families. January 11 saw the release of Evening Shadows, a film that talks about a gay man coming out to his conservative family and the consequences of his decision.

Feb 1 will see the release of Ek Ladki Ko Dekha To Aisa Laga (ELKDTAL) that is strongly hinting at lesbian love and family acceptance. Could these films bring about a conversation between Indian LGBTQ children and their parents, many of whom find it hard to accept alternate sexuality?

Evening Shadows tells the story of Karthik (Devansh Doshi), a photographer who goes back to his home town from Mumbai and reveals to his conservative mother (played by Mona Ambegaonkar) that he is gay. The film is about the mother’s journey to come to terms with her son’s homosexuality. It’s also the story of a woman in a patriarchal set up standing up to her husband (Ananth Mahadevan) for herself and her son.

Evening Shadows released to mixed reviews from critics but has been universally acknowledged for its theme and intention. ELKDTAL is already creating a huge Twitter buzz thanks to its trailer that says #LetLoveBe. Produced by Vidhu Vinod Chopra and directed by Shelly Chopra Dhar, what’s getting the film’s trailer a lot of eyeballs is a mainstream actress like Sonam Kapoor playing the lead. The trailer shows Sonam speaking of a secret she cannot share with anyone and ends with her holding hands and sitting with another girl.

Films broaching the subject of homosexuality have rarely made noise for the right reasons in India. Film maker Deepa Mehta’s 1996 film Fire (1996) sparked a controversy; Onir’s My Brother Nikhil (2005) wasn’t noticed much. Aligarh (2016), based on a true story, was released in 2016 after Censor Board cuts. It was critically acclaimed but didn’t make an impact on a mass scale.

There are hopes for a change, though.

On September 6, 2018, the Supreme Court of India struck down Section 377, a colonial law that criminalized homosexuality. Despite the positive judgement and an emerging conservation around India on LGBTQ rights, talking about sexual orientation remains a taboo topic in India, especially among families.

Shelley Chopra Dhar, the director of ELKDTAL, hopes her film might be a catalyst in some people’s lives. In a voiceover to the film’s trailer she adds, “There is nothing, no problem, no issue, no entanglements in our brain that cannot be cleared by just changing our perspective.”

Evening Shadows’ director, Sridhar Rangayan, feels the film has already made a dent in some ways. “Those who have seen Evening Shadows in India and many parts of the world have said this film mirrors the kind of conversations that they have had with their parents already, or offers them hope to begin conversations. There has been a barrage of requests on social media for the film to be available widely so youngsters can show it to their families. Many want to come out to their parents by showing this film. Even non-LGBTQ youngsters have said that the film shows the divide between generations and the need for conversations.”

Evening Shadows

Saagar Gupta, creative director and dialogue writer of Evening Shadows, thinks such films could be the flashpoint in starting that dialogue of understanding and acceptance within families.

Queer representation in Hindi cinema has usually been more caricatures than sensitive — remember the shocked Kantabai from Kal Ho Na Ho (2003)? Despite occasional gems like Aligarh, movies focused on a queer theme have not made much of a social impact either. In a post-377 environment, the release of two movies focused on the queer theme and family acceptance could probably be a sign of times to come.  

Rangayan, who with real-life partner Gupta, started writing the Evening Shadows screenplay almost seven years ago ends with a note of hope: “though the verdict regarding Sec 377 kept changing in between, but our film’s end remains the same right through as our intention was to bring forth the much-needed dialogue between Indian LGBTQ children with their families and vice-versa.”

Hindi films often act as a social impact catalyst for issues that Indians find difficult to talk about. They also have the power to introduce new ideas. Earlier in 2018, a Hindi film called Padman went a long way in starting conversations around menstruation. Perhaps films like Evening Shadows and ELKDTAL could work towards easing the conversation in Indian families around having same-sex partners.


Not an easy road yet

With 15 international awards and a 54 film festiva run, Sridhar Rangayan and Saagar Gupta thought there will be a beeline for distributing Evening Shadows. “But we realized soon enough that a LGBTQ feature film with no known star cast is a tough sell in India. The distribution system still goes by the book, as much as the Censor Board – only here the rule book is commercial viability. There are no risk takers,” says Rangayan.

Evening Shadows is directed by Rangayan and written by Rangayan and Gupta. They eventually released the film themselves by turning distributors with their company Solaris Picture. Rangayan adds, “We did a limited release of 15 shows in 6 cities and are now planning to release the film in Tier 2 and Tier 3 cities in India where such films can make a huge difference.”

The tepid reaction Rangayan and Gupta got from mainstream Bollywood producers and directors is probably reason enough to make more films that focus on taking the queer conversation forward.


Evening Shadows (2019). Director: Sridhar Rangayan. Writers: Saagar Gupta  & Sridhar Rangayan. Cast: Mona Ambegaonkar, Ananth Narayan Mahadevan, Devansh Doshi. Music: Shubha Mudgal. Producer & Distributor: Solaris Pictures.

Ek Ladki Ko Dekha To Aisa Laga (2019). Director: Shelly Chopra Dhar. Writer: Gazal Dhaliwal. Shelly Chopra Dhar. Cast: Sonam Kapoor, Anil Kapoor, Juhi Chawla, Rajkumar Rao, Regina Cassandra. Music: Rochak Kohli. Producer: Vidhu Vinod Chopra. Distributed by: Fox Star Studios, 20th Century Fox.


Reshmi Chakraborty is a freelance writer based in Pune. She writes on diverse themes and co-runs a startup for older adults. Read more at www.silvertalkies.com.

Photo credits: Solaris Films, Imdb.

This article was edited by Culture and Media Editor Geetika Pathania Jain.