KARACHI: The lens of nostalgia is often accompanied by a significant dose of grief. The rose-colored glasses one puts on to look back in time overlook any grievances one may have had, reminding only of a simpler, sweeter time that the heart begins to yearn for.
As the changing trend sees right-wing propaganda-driven Bollywood succumb to the growing and constantly fueled anti-Pakistan fable, one is thrown back to a time when Indian cinema had some respect for its Muslim-majority neighbour. Twenty years on, Main Hoon Na is a perfect example of one such narrative that might struggle to find acceptance amid calls for inevitable bans in India today.
Farah Khan, who is now synonymous with a meme used to narrate a distant dream that is in a hurry to float away every day, in her typical way, tackled the extremely sensitive subject of India-Pakistan relations. Much to the surprise of those who grew up consuming modern Indian cinema, Main Hoon Na steadfastly sought a union between the two nations, even though India had to first extend the hand of friendship – a step unthinkable in our day and age.
The film’s politics were surprisingly neutral, but also extremely vital, both on and off the screen. The Muslim filmmaker tackled the project with boldness and humor and a Muslim lead was chosen for the role of Ram. Indeed, Bollywood was once made of finer stuff.
Despite being obnoxiously self-righteous and pro-military, Shah Rukh Khan’s Major Ram Prasad Sharma was the protagonist who made you believe in a better world. True to the title of the film, his company was steadfast and his love was adorned with unwavering loyalty.
Major Ram was also in line with the characters that the audience tuned in to Shah Rukh at that time. More often than not, Shah Rukh took on the role of a likable hero who had a bit of an upper hand. This entire era of his roles were in many ways markedly different from the roles he took on later. It makes it easier to look back on the film with a touch of tenderness and remember the Shah Rukh who once ruled the hearts of romantic avatars.
One of the film’s most iconic sequences is when Major Ram comes home to tell his stepbrother and stepmother the truth about his parentage. However, the two of them sit with a frown on their faces. Ram steps forward, bridges the gap to reveal. Raghavan’s personal soundtrack, a brilliant, in-your-face cacophony of sound, plays for the reveal as Ram and the others are frozen in pregnant silence.
Personal preference rules in such judgements, but for many, Raghavan remains the iconic villain. On paper, the ex-army officer, dressed in green, wanted to stop the Milaap project at any cost to avenge his son’s death. On further analysis, one can see how he was perhaps an all-too-clever jab at India’s internal politics, where threats to the country may linger on the borders, but the real threat comes from elements they never wish to see. united subcontinent again due to personal vendettas.
