Open Thread; the endless Argument of the Archives

What We Did

Brown Pundits was founded as a diaspora project. A handful of Brown people thinking out loud about where they came from, what it meant, and whether the subcontinent could be understood in English without either romanticising it or apologising for it.

What happened instead was stranger and more valuable. The site became a place where the subcontinent argues with itself in public, without editorial supervision, without a line to hold, and without the particular kind of cowardice that afflicts publications which need to keep everybody happy.

Over the past week, we forced the archive into coherence. All 3,987 published posts; every Open thread, Genetics argument, Civilisational essay, Partition debate, BrownCast episode, Film review, Obituary, every Moderation notice, are now part of a single navigable structure. For the first time, the site can be read not as a sequence of posts, but as a narration.

What the Archive Revealed

The Partition of India is not a historical event on this site. It is a living emergency. Every argument we have had about Pakistan’s identity, India’s secularism, the Muslim League, Jinnah that is QeA, the two-nation theory, Bangladesh’s founding, the treatment of minorities across all three successor states; all of it is 1947 refusing to close. The wound keeps producing arguments because it was never properly treated. The British left. The questions they left behind did not. Brown Pundits has been, among other things, one of the few places in the English-speaking world where those questions are fought over by people who have actual stakes in the answers, not just professional opinions about them.

Pax Persica

Continue reading Open Thread; the endless Argument of the Archives

At the Heart of the conflict

Reams of digital pages on this forum have been devoted to India–Pakistan relations and the broader Hindu–Muslim, or Muslim–non-Muslim, conflict. I think most of these discussions miss the crucial issue at the heart of these conflicts.

I will try to navigate to that core. This particular reflection was triggered by a news item that broke recently:

TCS Nashik conversion case widens: Undercover women cops, Malaysia-linked preacher angles surface – India Today

If, twelve years into the Modi government’s Hindutva agenda, a dozen educated Muslim employees can allegedly engineer a conversion racket in TCS—with all its POSH and diversity guidelines—one wonders what Muslim radicals might get away with in majority-Muslim countries.

One doesn’t need to wonder. A Dawn report from 2014 alleged that around 1,000 non-Muslim girls are forcibly converted and married off every year. Even if the number is 100, that is a huge number for 2-3% of population. The demographic change in East Bengal over the last eight decades is a testament to these currents.

Continue reading At the Heart of the conflict

Brown Pundits: Traffic Report, March 2026

The Dhurandhar effect

Omar Ali’s Dhurandhar review is our highest-traffic page by a distance followed by BB’s Kohrra season 2 review. It ranks 20th on a keyword with 87,000 monthly searches in India alone. A single film review, by one writer, on one streaming title, is pulling 37% of our traffic. Continue reading Brown Pundits: Traffic Report, March 2026

The Game We Can Smell

Asha Bhosle Deserved the Lead

Asha Bhosle passed away this week.

She was one of the most recorded artists in human history. She worked with Ustad Ali Akbar Khan on Hindustani classical music late in her career. She was, by any measure, a civilisational figure. She deserved the lead.

The Disguise

The language of the liberal left has become the preferred disguise for Hinduphobia and Indophobia. This is not a new observation, but it bears repeating because it keeps working. You dress the hostility in the vocabulary of literacy rates, developmental failure, civilisational backwardness. It sounds like concern. It is not concern. If it were concern, one would ask the same questions about Pakistan. One would not, because the point was never the question. The point was the target.

The Playbook

This is what a significant segment of Muslim liberal discourse does. It has learned the language. The vocabulary is progressive. The instinct beneath it is not. It hides deeply illiberal commitments behind the cover of global left credentials. The irony is that this playbook, run long enough, galvanises exactly the forces it claims to oppose. Jews, Hindus, and other minorities watch institutional Islam operate under liberal cover and draw their own conclusions. They are not wrong to do so.

The Mughal Test

In the discourse of the Western, Muslim & Indian liberal left, a Hindu is only a good human being if they love the Mughals, especially Aurangzeb. Not merely acknowledge them, love them. Never mind that the Mughal period was, for large parts of the subcontinent, a period of genuine civilisational injury. You are not permitted to say that. You are not permitted to have a complex relationship with your own history. You must perform gratitude or be dismissed as a chauvinist.

We say this as people who have integrated Zoroastrian and Islamic history into our own civilisational understanding, not because we were required to, but because our tradition demands synthesis. That is our path. It is not everyone’s path, and Hindus are not obligated to take it. Partition, on QeA & Allama Iqbal’s insistence, largely ended the experiment in synthesised civilisation on the subcontinent anyway. That wound is real and it is not healed by demanding that Hindus perform affection for the dynasty that inflicted much of it.

What Is Changing

Hindus before were easy-going. The hardcore commitment to civilisational identity belonged elsewhere. That is changing, and the people somewhat responsible for that change are the ones who spent two decades weaponising liberal language against a civilisation that mostly wanted to be left alone.

We can smell the game.

We do not like it.

Ranbir as Lord Ram: The Indus Paradox

The riveting Ramayana teaser dropped today, and Ranbir Kapoor looks the part. Imperial, restrained, emotionally loaded. But the casting raises a question Bollywood won’t ask aloud.

The male axis of Hindi cinema runs through the Indus, not the Gangetic plain. The Khans, Aamir (Afghan UP-origin), Salman (Hindu, Pathan), Shah Rukh (Delhi, Hindko-Deccani stock), are Musulman. Their anointed successors, Ranbir (Kapoor lineage from Peshawar) and Ranveer (Bhavnani, Sindhi), are Hindu but Indus-blooded all the same (Hindus of the Indus are 99.9% genetically identical to Pakistanis apparently). The geography of stardom in Bollywood is the geography of Partition.

A Kashmiri nationalist once told me, Srinagar-bred, Ivy-educated, who sang Pakistani ghazals with more feeling than most Lahoris, that Ranbir and Ranveer were being aggressively promoted to eclipse the Khans.

Of course the connective tissue of the Ranbir-Ranveer rivalry is Sonam Kapoor. She is third cousin to Ranbir through the Punjabi mafia, and second cousin to Ranveer through their Sindhi mothers. The Sindhi presence in Bollywood runs deeper than most realise; Karan Johar, Kareena Kapoor, Kiara Advani all carry it. The two men being positioned as Bollywood’s future are bound into a single pre-Partition Hindu kinship network. The contestation isn’t just cultural. It’s familial.

The man cast as Maryada Purushottam, the ideal Hindu man, the conscience-keeper of a civilisation, descends from Prithviraj Kapoor of Peshawar; a Hindu Pathan (his kinsman Anil Kapoor states on record that he is the son and grandson of a Pathan). Bollywood’s Ram comes from the other side of the Wagah.

Ranbir versus Ranveer is the wrong frame. The real question is what it means that Hindu epic cinema, ₹4,000 crore, Hans Zimmer and A.R. Rahman, DNEG VFX, global IMAX release, chose a Kapoor. The answer is that Bollywood has always understood something the BJP perhaps never quite has: the cultural power of the Subcontinent flows from its Mleccha western rivers, not its sacred eastern ones.

Continue reading Ranbir as Lord Ram: The Indus Paradox

Cholistan: The Desert at the Edge of Everything

There is a desert in the southern Punjab of Pakistan that does not quite belong to Pakistan. Administratively it sits in Bahawalpur Division. In practice, it is shared with Abu Dhabi. Deep in the Cholistan, there is a private airstrip, Al Habieb, also known locally as Sheikh Zayed Airport II, with a runway long enough to receive the world’s largest cargo aircraft. Each winter, C-17s and Antonov-124s arrive from the Gulf loaded with vehicles, staff, telecommunications equipment and falcons, depositing the UAE president and his court into what is effectively a private desert palace. The Houbara bustard, an endangered migratory bird that Bedouin tradition prizes above almost any other quarry, is hunted here under special permits issued by the Pakistani government to Gulf royalty. The airport at Bahawalpur proper was financed by Dubai. The international airport at Rahim Yar Khan, 200 km away, is named Sheikh Zayed International Airport after the UAE’s founding father, who considered this corner of Pakistan a regular retreat.

This is not a footnote. It is a civilisational signature. The Khaleeji sheikh pursuing the Houbara across Cholistani sand dunes is, without knowing it, re-enacting something very old: the desert as a shared zone, unbounded by the nation-states that nominally contain it. Cholistan does not belong to Pakistan. It does not belong to India, or Sindh, or Rajasthan. It is a seam; and seams, by definition, belong to no single side.

The Hinge of Seraikistan

The name Cholistan derives from the Turkic chol, sands, and the Persian suffix -istan. Both layers arrived later than the place itself. The culture that defines Cholistan is Derawali: the Seraiki dialect of the encampment, the dera. It is nomadic speech in the most literal sense. Its richness is not courtly but ambulatory.

Seraiki itself is one of South Asia’s underappreciated civilisational languages. For centuries it served as the lingua franca across the interface zones of the northwest, among Baloch, Sindhi, Pashtun and Punjabi speakers, as the language of trade and movement. Cholistan sits at the heart of Seraikistan, flanked by Sindh to the south, Rajasthan to the east, and greater Punjab to the north. It is not peripheral to these zones. It is where they meet, and where, historically, what they share becomes visible.

That structural position, edge as synthesis, is the key to understanding what Cholistan is.

The Dead River and the Living Civilisation

The Hakra River, the Sarasvati of Vedic memory, once flowed through Cholistan, fed by the Sutlej and the Yamuna. It sustained dense settlement from roughly 4000 BCE until 600 BCE, when it changed course and the floodplain became desert. Along its dried bed, over 400 Harappan archaeological sites have been catalogued; among the highest densities in the entire Indus Valley civilisation.

The people who now pursue camels across that same terrain, collecting water in seasonal pools called toba, are the cultural descendants of one of the ancient world’s great urban traditions. What looks like marginalisation is, on a longer view, adaptation. The civilisation did not collapse. It reconfigured.

This matters because it frames the deeper question: who were these people, before the Hakra died?

The Dravidian Puzzle

The map that accompanies this piece is one of the most quietly extraordinary images in South Asian studies. It shows the distribution of Dravidian languages today: a vast bloc across peninsular India, with isolated remnants in central India, Gondi, Kurukh, Malto, and then, stranded alone in Pakistani Balochistan, 1,500 km from its nearest linguistic relative: Brahui.

The scholarly consensus is that this map records the aftermath of Indo-Aryan expansion from the northwest after roughly 1500 BCE. Before that expansion, Dravidian languages were far more widely spoken across the subcontinent; including, most plausibly, across the Indus Valley civilisation zone that includes Cholistan. The central islands visible in the map, Gondi in Madhya Pradesh, Kurukh and Malto in Jharkhand and Odisha, are not coincidences. They are survivors.

Brahui is the most striking survivor of all. Its very existence in Balochistan suggests that something Dravidian persisted in the northwest long after Indo-Aryan became dominant; whether as a remnant population, a linguistic relic, or evidence of a deeper pre-Aryan substrate that stretched from the Indus to the Persian Gulf.

That last possibility is what the Elamo-Dravidian hypothesis proposes: a family linking the extinct Elamite language of ancient Khuzestan to Brahui and the Dravidian south. It remains a minority and contested position in linguistics, and should be read as such. But the geographic intuition behind it is not unreasonable. Khuzestan, now the Arab-majority southwestern province of Iran, was the heartland of Elamite civilisation. If Elamite and Proto-Dravidian shared a common ancestor, the implied civilisational corridor runs from the Persian Gulf coast through Makran and lower Balochistan, through Sindh and lower Punjab, and south into the peninsula. Cholistan sits directly in that corridor.

This is not established fact. It is a live and serious question, which is exactly the kind of question Brown Pundits exists to think about.

The Roma: The Longest Migration

One further thread, less speculative. The Roma, Europe’s largest ethnic minority, numbering somewhere between 10 and 15 million, originated in precisely this northwestern zone of South Asia. Genetic and linguistic evidence converges on Punjab and Rajasthan as the ancestral homeland, with significant shared ancestry also traceable to Sindhi, Balochi and Brahui populations in Pakistan. The Romani language is Indo-Aryan at root but carries innovations from the northwestern branch, Punjabi, Sindhi, consistent with an origin in the transitional zone between dialects, which is exactly where Cholistan sits.

The proto-Roma began their westward movement around the first millennium CE, passing through Persia and Armenia before entering the Byzantine world and eventually reaching Europe by the 13th century. They are the longest-range migration in South Asian history, and they began from the desert margin that Pakistani administrative maps label, prosically, Bahawalpur Division.

What Cholistan Teaches

Pakistan is discussed, almost always, in terms of its political present: the civil-military axis, the question of democratic consolidation, the India relationship, the nuclear deterrent, the IMF programme. These are real. They are also thin.

Cholistan is a reminder of the depth beneath the thinness. A Seraiki-Derawali nomadic culture whose civilisational roots predate Islam, predate the Indo-Aryans, and reach into a pre-Aryan substrate that may connect, linguistically and geographically, to the first cities on earth. A desert from which Europe’s most persecuted people likely began their diaspora. A terrain now seasonally occupied by Gulf monarchs pursuing an endangered bird across the ruins of a Harappan settlement.

The Hindu Presence

One further detail that the administrative map of Pakistan obscures: Cholistan retains a significant Hindu population. They are classified, in the caste framework, as Shudra; the lowest varna. But that classification tells you almost nothing about how they actually live.

In villages where Muslims and Hindus exist in roughly equal numbers, the communities are functionally indistinguishable by appearance, dress, or manner. Muslim neighbours organise protection for Hindu households during fairs and festivals not because there has ever been cause for alarm, but as a matter of custom and solidarity. Full social interaction is the norm. Intermarriage and commensality, sharing food across the line, are not. The boundary is observed without hostility.

What this means is precise: the racial and demographic integrity of the region is intact. These are the same people, shaped by the same desert, the same Hakra basin, the same pre-Aryan substrate. The religious difference arrived later than the people themselves. In Cholistan, you cannot tell a Hindu from a Muslim by looking. That is not erasure of difference. It is evidence of a shared civilisational root that predates the categories imposed upon it.

The Crescent and the Saffron are medieval categories imposed on a Neolithic reality. Cholistan predates both, and will outlast the argument.

Dhurandhar, Politics of Bollywood & India Pakistan

I had avoided the Dhurandhar hype for the last four months. I finally watched the first movie on Netflix and then read XTM’s review and watched the 2nd part in theatre. I profoundly disagreed with it—especially the line:

“By routing this grief through an anti-Pakistan narrative, the film asks Hamza to deny his Sikhness in order to become fully Indian, and frames that erasure as redemption.”

I’m not writing a formal review of the movie, but I will try to respond to a few generic questions raised on this forum and across social media regarding Dhurandhar.


Is the villain missing?

I agree with XTM that a central villain is missing in Part 1, but perhaps we should see Dhurandhar as a 7‑hour film split into two parts, rather than a standalone first installment.


Part 1 vs Part 2

Personally, I felt Part 1 was more tightly written and better dramatized. While some reviewers saw the love story as a needless distraction, I viewed it as a way to explore Hamza’s humanity despite his profession.


Is Dhurandhar Anti‑Islam?

On the contrary, I felt the filmmakers went out of their way to separate the issue of anti‑India terrorism from Islam—despite the fact that some terror groups do draw on fundamentalist interpretations of religion.
The villains are not portrayed as devout Muslims; they are not shown praying before missions. Rehman Dakait’s wife lighting his cigarette as a good‑luck gesture is a good example.

One could even argue that Dhurandhar focuses almost entirely on political motivations within Pakistan, while ignoring any potential religious motivations behind the Indo‑Pak conflict. I don’t know exactly how the ISI thinks, but I would wager that at least some religious motivations do exist—it cannot be purely political.


Is Dhurandhar Anti‑Pakistan?

Obviously, it is—but I disagree with XTM’s assertion that it dehumanizes Pakistani Muslims.
I didn’t enjoy the montage of political killings by “unknown gunmen”; it felt shallow. But it wasn’t the sort of random, gleeful violence we saw with Gaitonde in Sacred Games during the 1993 riots.

The film definitely leans dark, but I would still call it shades of grey, especially because of Hamza’s conversations with his wife.

I also believe that Major Iqbal’s character is humanized. He carries the burden of his father’s sins, and the mental torture he undergoes—while still maintaining a link to his wife and child—would break almost anyone. We can see why Major Iqbal becomes who he is. Ironically, this humanization also makes him a less effective villain than Rehman Dakait, as many reviewers have noted.


Is Dhurandhar pro‑Modi propaganda?

I may be wrong, but I felt the film used real politics—like demonetization—to weave its plot. Using real events increases impact, and I think that’s what the filmmakers were aiming for.

Does this mean it has no propaganda effect? Of course not. But compared to the list of A‑list Bollywood movies I’ve seen over the years, this is nothing unusual. We will probably see Hollywood films justifying the Iran war in a decade or so—that has always been the pattern.

If you pay attention, the film also touches upon how previous governments—Indira Gandhi’s as well as Manmohan Singh’s—played roles in shaping certain outcomes. It is not a “Modi or bust” narrative.
However, it would be blind to deny that the film does portray the Modi government’s actions toward Pakistan and terrorism in a positive light.


Jaskirat’s Arc

While I found certain aspects of the film underwhelming, I thoroughly enjoyed Jaskirat’s arc. Here, I completely disagree with XTM. The movie does not celebrate Jaskirat’s transformation into a killer—it shows the cost he pays at every step. It also explicitly shows how he is used by the establishment.

Jaskirat doesn’t become an intelligence operative because Pakistan “earned his hatred.” He becomes one because it was the best choice available to him. The film wants viewers to see the price soldiers pay for their “jobs.”

Also i absolutely do not understand why XTM thinks Jaskirat’s Sikhness is erased in the movie. Rather Jaskirat choses to travel back to Pathankot as a tired  Sikh in full Pagdi not macho silky muscly Hamza. I think going beyond this straightforward narrative into the alleged drugs, land dispute, Khalistan angle while thinking erasure of Sikhness or History is something i absolutely do not get.

 


On Hatred Being ‘Installed’

XTM claims:

“The hatred is not earned. It is installed.”

I disagree. You do see Hamza’s transformation through Lyari’s horrific violence, the betrayal of the Baloch by Rehman, and 26/11. You can see a monster being born in Lyari, but even then he retains his humanity—which becomes evident again when he reacts to killing his friend.

The movie does not end with a “happily ever after” for either Hamza or Jaskirat. It wants you to examine that, not ignore it.


My Take

I enjoyed both movies. Like XTM and many others, I agree that Part 2 has more flaws while Part 1 is far more seamless. Still, Jaskirat Singh Rangi’s arc in Part 2 is the highlight of the entire seven hours.


On India–Pakistan

Contrary to what social media suggests, India as a whole has moved on from Pakistan. You can see this from the declining obsession with India–Pakistan cricket matches compared to the 1990s and 2000s.

Yet, a significant number of Indians derive a kind of sadistic pleasure from Pakistan’s struggles. You see this reflected in reactions to news, such as Pakistan mediating in the Iran crisis—where both the Hindu right wing and the opposition twist the narrative for political ends.

If you once hated your neighbour in the slum you grew up in, would you still mock his poverty after moving into a middle‑class apartment? Or should you aspire to grow on your own terms?

This attitude towards Pakistan is self‑defeating. I honestly pity it.
My message to fellow Indians: Grow up and move on. Look East.

What if Pakistan successfully mediates in the Iran crisis? What if Pakistan continues to punch above its weight diplomatically?

If their mediation helps solve an energy crisis—unlikely, but possible—shouldn’t I, as an energy‑deficient Indian, be happy? If Pakistan’s rise ever poses a genuine risk to India, I will worry about it then. Until that point, I prefer to leave it to the agencies and the government. If Pakistan becomes richer and doesn’t support terrorism against India why would that be a bad thing ? I am not being naive but i think there is a marginal chance of Ind- Bangladesh level relations with Pakistan in 20 years if not 10. Inshallah

nos ancêtres les Hindous

A pattern has emerged in these comment threads that deserves naming directly. When the Hindu hammer retreats, the space does not become neutral; it becomes anti-Hindu. The two are not the same thing, and conflating them is itself a form of intellectual dishonesty.

Hinduism is one of the most theologically complex systems humanity has produced. It is the root of Dharmic civilisation, the origin point of concepts, reincarnation foremost among them, that have radiated as far as East Asia, Southeast Asia, and arguably into the mystical strands of Abrahamic tradition. The sages, the philosophers, the vast literature: none of this coheres with the dismissal now fashionable in certain quarters, that Hinduism is simply a colonial administrative category, a British label slapped onto undifferentiated paganism.

This is the Pakistani foundational ideology speaking. It must deny Hindu civilisational continuity, because acknowledging it makes Temple destruction look like what it was: a pattern, not a series of unrelated incidents. It must deny that India had a civilisation, because if India had one, then the last pre-British colonisers of South Asia were Muslim; and that sits uncomfortably with postcolonial victimhood framing. The logic is circular and self-serving, but it is internally consistent. One cannot claim the mantle of the oppressed while being the penultimate oppressor.

The Dravidian Continue reading nos ancêtres les Hindous

On Dhurandhar, Decorum, and Where BP Draws the Line

The review of Dhurandhar 2 has now been posted. Read it if you haven’t. The comment thread on the Ikkis post, which ran in parallel, illustrated the review’s central argument more vividly than any film still could.

A film that educates audiences to hate will eventually produce hateful audiences.

We have been moderating this site long enough to know that comment threads are a pressure gauge, not a debating society. What happened over the last 48 hours was not debate. It was escalation; predictable, cyclical, and ultimately ending where it always ends when people get sufficiently worked up: in the language of violence.

BB was on a Dhurandhar high. We understand this. There is something in the film’s rhythm, the josh of it, as he put it himself, that makes a certain kind of Punjabi Muslim-hating Bollywood patriot feel ten feet tall. We are not without understanding. He had just watched a four-hour film designed specifically to produce this effect. But understanding the cause does not excuse the consequence.

The line was crossed when he repeated, almost verbatim, dialogue from the film, the “ghar mein ghusega bhi, marega bhi” register, and directed it as a personal threat at Kair. Saying one will infiltrate Pakistan and hold a gun to someone’s head to make them chant a slogan is not josh. It is a threat. That it is practically unenforceable is beside the point. The language normalises exactly what we argued Dhurandhar 2 normalises: the idea that the other must be humiliated into submission, not merely defeated.

BB’s commentating rights are suspended until Thursday, 2nd April. Every comment he attempts in that period will be deleted. When the suspension ends, reinstatement of authorship will depend on whether the Saffroniate faction of our commentariat, can reason with him collectively that certain red lines exist even in the heat of subcontinental rivalry. Those lines are not about Pakistan. They are about the difference between argument and menace.

Kabir and Sbarrkum retain their authorship. Kabir was asked to stop and did not, and we say so plainly. But nothing in his conduct approached the violent register BB eventually reached. We are also honest about the asymmetry here: Brown Pundits tilts toward Bharat, that is India; everyone who reads this site regularly knows this. That soft tilt means Kabir, Sbarrkum and Qureshi operate in a forum that is structurally not neutral. The least we owe them is consistent application of the rules.

We want to say something about the Punjabi dimension behind all of this, because it is analytically interesting and not merely polemical.

Continue reading On Dhurandhar, Decorum, and Where BP Draws the Line

Ikkis: Thoughts on another Propaganda Movie

Second Lieutenant Arun Khetarpal is an Indian Army legend. A National Defense Academy (NDA) and Indian Military Academy (IMA) alum, Khetarpal was commissioned into Indian Army’s armoured regiment, Poona Horse and won India’s highest gallantry award the Paramvir Chakra, posthumously, for his heroism in the 1971 India-Pakistan war. Sriram Raghavan’s Ikkis is an autobiographical account of Arun’s life and the Battle of Basantar. A battle where Khetarpal’s Centurion tank took on the Pakistan army’s Patton tanks and fought valiantly before he succumbed to injuries on the battlefield. The movie stars Agastya Nanda, grandson of Amitabh Bachchan, as Arun Khetarpal with Dharmendra and Jaideep Ahlawat. The former plays the role of Brigadier Madan Lal Khetarpal, Arun’s father and the latter plays the role of Brigadier Nisar of the Pakistan army.

The movie recounts the visit of Brigadier Khetarpal, in 2001, to Lahore where he is hosted by Brigadier Nisar of the Pakistan Army. The senior Khetarpal is visiting Lahore for his college reunion and to visit Sargodha from where his family had to migrate in the aftermath of India’s partition in 1947. This story track runs in parallel to the story of Arun’s days at the NDA, IMA, days leading up to the battle and the battle itself. The senior Khetarpal, now in his eighties is all dewy eyed for his roots and the younger one, who has turned 21 (Ikkis is the word for the number 21 in Hindi) is eager and keen to prove his mantle on the battlefield. The retired Brigadier is serenaded by everyone, by his hosts, his former classmates and the family that now lives in his ancestral house. The young second lieutenant is learning the brutal nature of combat and the human cost of war as he rolls on towards Basantar. The dramatic arc of the movie ends with Brigadier Nisar telling the elder Khetarpal that he was the commanding officer of the Patton that shot the lieutenant’s tank and it was his assault that proved fatal.

I am a big Sriram Raghavan fan. His Johnny Gaddar makes it to every list of top 10 Hindi movies that I have ever made. Raghavan has the knack of writing stories and characters that are unconventional for commercial Hindi cinema, his plot twists don’t disappoint and nobody uses songs from Hindi movies of the 1950s, ’60s & ’70s like Raghavan. He eschews over the top dramatics and gets his actors to deliver pitch perfect performances.

Ikkis is handicapped by the fact that it is autobiographical. Raghavan has limited scope for crafting a story that surprises. This is his attempt at making a war movie and the stories of the two Khetarpals is a prop. He wants us to see that Indians and Pakistanis are the same people, there are no winners in a war, soldiers are common folk who pay with their lives for the idea of nationhood, there is common humanity that binds us all and the Pakistan army, just like the Indian army, is a professional force doing what is necessary. He uses all the tropes to make these points. Scenes of the elder Khetarpal with Brigadier Nisar’s family, his former classmates, the joyous outdoor dinner organized by the occupants of his ancestral home, the bullets ridden, lacerated bodies of soldiers and the depiction of Brigadier Nisar as an honorable gentleman who represents the best of Pakistan army. Continue reading Ikkis: Thoughts on another Propaganda Movie

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