There is no patting-oneself-on-the-back going on here, this is not liberalism of the self-serving kind. Infact no scene in Deewar is subversive or polemical only for the sake of it. But it is so because it does not take any easy route to do so. The “national anthem” scene in Deewar is the best example of subversion of nationalism and nation-state. in the case of opposing or rejecting patriotism), but one is still answerable to certain moral questions. Yes, one might be “constitutionally” secure in this case (i.e. But often people wrongly assume that by rejecting patriotism, their moral and ideological (and even intellectual) postion becomes superior to the rest.
Of course, one has every “constitutional” right to reject any notion of patriotism (w.r.t India). Both Airlift and this film (which I think is much superior to Airlift) are certainly patriotic without being nationalistic.
Also one MUST differenatiate between nationalism and patriotism (not that nationalism is wrong in itself).
That scene might not work for somebody for its (apparent lack of) cinematic quality, but to keep taking the very same unthinking ideological positions against it is meaningless. And while I feel it’s my duty to challenge a certain kind of dangerous patriotism, I also believe that I must challenge this sort of unthinking response to that as well. And it is also an example of the prevaling “easy liberalism” in the country this is liberalism of the worst kind, it’s puerile and thoughtless (and this is precisely the kind of self-serving liberalism which allows the most dangerous kind of right-wing ideology to flourish). Sadly your response here is as cliched as the scene itself. Such a cliched shot designed to evoke that reaction”. “As someone opposed to the enforced patriotism in vogue these days, I cringed when the audience enthusiastically applauded the sight of the flag near the end of the film. It’s merely an expression of regret that had they continued leading with the human drama, the catharsis would’ve been sweeter at the end when the nurses are rescued, rather than looking like the Ambassador saving the Indian government’s ass. If the last two paragraphs sound too negative, well, it’s really not meant to be – the 2nd half still works very well as a thriller. What if, during the ISIS camp missile attack, they had ended the scene with a more dramatic shot like, say, the camera zooming in on Shahid’s face as he looks up from the Malayali attacker’s body to watch the flames converging on him? A bit like Cutler Beckett’s death in PotC: At World’s End. A couple of lines of dialogue from the Ambassador do not serve as convincing proof. Such a cliched shot designed to evoke that reaction.Īlso, not for a moment did I believe Shahid had died. As someone opposed to the enforced patriotism in vogue these days, I cringed when the audience enthusiastically applauded the sight of the flag near the end of the film. From a personal story, it changed into something nationalistic. That is why I was disappointed that the script took the route it did, shifting focus from the kidnapped nurses to the Indian government’s rescue efforts led by the Ambassador, while criminally relegating the captured Shahid’s story to almost an afterthought. By the time shit really starts raining down, we’re invested in all the characters and find ourselves continually rooting for them (the WhatsApp-addicted nurse was a hoot!). I was initially confused who Asif Ali’s character and the gamer kid were, given we’d seen Sameera receiving Shahid’s fullest attention prior to that. Loved the first half, with its focus on setting up the characters, their relationships and the circumstances which lead them to undertake this hazardous journey.
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