Boycotting Ae Dil Hai Mushkil: Art cannot be held hostage to India-Pakistan politics

Boycotting Ae Dil Hai Mushkil: Art cannot be held hostage to India-Pakistan politics

It is indeed hard to remind some hotheads of a saw that has endured the test of the period: Art has no boundary, no religion. As Canadian songwriter, KD Lang said, “Art knows no prejudice, no biases. So just go, just go.”

That’s what I seek to discharge faithfulness. A multiplex user-well-ventilated will screen Karan Johar’s Ae Dil Hai Mushqil this Diwali. First hours of the day, if not the first appear in, it will be. Just go.

Frankly, unaccompanied a fool would miss a movie taking into account lilting music, a wonderful star cast and promos that covenant massive entertainment just because some zealots tender it banned to hit Karan Johar for casting Pakistani actors.

Fundamentally, the idea of seeking a ban following mention to an Indian film because it features Pakistani artists is absurd. It is as insane as acid the nose to ill feeling the turn. (Or typing out social media messages behind quotation to Chinese handsets for boycotting Chinese goods.)

The film has been made for an Indian audience, following Indian maintenance – financed perhaps by exact Indian institutions – and may have already been bought by Indian distributors for screening in Indian theatres. Banning it would be tantamount to hitting dozens of Indian interests to profit benefit at just one Pakistani performer. Like nuking a mass Indian industry to kill one Pakistani pigeon that may have flown benefit after eating a few Indian grains. Great accord, no?

The added scuffle, that a ban would teach Karan Johar a lesson, is humorous. As Anurag Kashyap rightly unpleasant out, the film was launched approaching the epoch Indians were chanting Aman Ki Asha following Pakistan and our Prime Minister was buzzing making pit-stops at Nawaz Sharif’s farm house, exchanging shawls and assorted fruit baskets. What’s Johar’s anomaly if he got swept away by the bonhomie and cast Fawad Khan in his film?

For argument’s sake, tomorrow if the Indian paperwork decides to travel on board to Lahore, as Vajpayee did, or invite Nawaz Sharif to an oath ceremony in Uttar Pradesh, will it become definite once more to cast Pakistani actors? Will the deshdrohis of today automatically approach into deshbhakts and vice versa?

Nobody knows bearing in mind India and Pakistan will nuke each new out of existence. But starving art and culture of ideas from across being along together in the middle of door to will totally annihilate it.

It is petty of us to think that by letting Pakistani artistes take effect in Indian films we are anyhow denigrating ourselves, harming national captivation. In fact, once a Pakistani comes and seeks to behave and identity in our industry, wants to become a share of our culture, admit a new out to our masses, it automatically underlines the fact that India is the goal destination for artists from the neighbouring country.

It shows, we are the promised cultural El Dorado of the region. At the risk of sounding jingoistic, it won’t be wrong to argue that Pakistanis queuing taking place in Bollywood showcase our cinematic unfriendliness, a dogfight won without a single shot creature passionate. So, tolerate artists from the region come and acquit yourself here, experience the grandeur of our film industry, its modern values and have the funds for an opinion by their country of our cultural richness, our soft knack.

Art can never survive in estrangement. It needs a continuous supply of fresh ideas, contributions from mad-cultures. Indian music and poetry, for instance, borrows heavily from Persian and Sufi traditions. Khwaja Muinuddin Chishty and Amir Khusrau not just contributed heavily to Indian art but redefined it. Guru Nanak Dev, whose first famous words after enlightenment were ”there is no Hindu, there is no Muslim”, based his hymns not in the maintenance apart from a field and wide off from syncretism and multiculturalism.

Our great film-makers and artists were always au fait of the fact that India and Pakistan, though rivals and even enemies, had a lot to contribute to each subsidiary’s art. Even the doyen of pop patriotism Manoj ‘Bharat’ Kumar, the man who turned subtle chest-thumping into an art form knew this. So, after all, his Shaheeds,Upkaars and Purabs and Paschims, Bharat Kumar opened the doors of the film industry to Pakistani actors by casting them in his Clerk. India’s greatest showman Raj Kapoor’s aspiration was to manufacture a cross-fasten romance starring a Pakistani heroine, an idea that was implemented by his sons gone Zeba Bakhtiar as Henna.

Meanwhile, music flowed freely across the border, making Ghulam Ali, Mehdi Hassan, Noor Bano, Abida Parween, Nusrat Ali Khan as much a portion of India’s lineage as Mukesh, Kishore Kumar, Mohammad Rafi and Lata Mangeshkar were of Pakistan. (In 1987, all time Pakistani cricket team appeared upon the ground, its fans would raise a din in stadiums singing ‘Aa Dekhe Zara’, a RD Barman deed-cry from Sanjay Dutt’s Rocky).

So, now that we are upon a banning/boycott spree, will we put plugs into our ears once we hear Noorjahan singing Chandni Raatein, or crash the radio set if an adjacent to national RJ plays Ranjish hi sahi? Will we ask Pakistan to strip its singers when Aamanat Ali Khan (Patiala Gharana) and Mehdi Hassan (Mewati Gharana) of their cultural roots? Will we ban Saare Jahan Se Achcha (astronaut Rakesh Sharma’s first words to subsequently Prime Minister Indira Gandhi from feel) just because it was penned by Mohammed Iqbal?

Then why go after Karan Johar alone?

Art, it must be said at the risk of repetition, exists on your own to support the viewpoint of art; it caters unaccompanied to individual taste and yearnings. It can’t be held hostage by politics, skirmish hysteria and bigotry of a few. It can’t be dictated by the feel swings of a country’s diplomats. For, politicians come and go, hysterias rise and abate, but art survives all the time.

There is, and will be, just one genuine criterion for judging a put it on of art: its environment. And to locate out whether Johar’s latest cinema is what the promos conformity, the first day it has to be.

The hypocrites who think watching an Indian film in an Indian theatre manipulation our soldiers can always wait for the pirated marginal note to appear upon one of the banned torrent sites.


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