{"id":2546,"date":"2016-07-26T01:35:00","date_gmt":"2016-07-25T20:05:00","guid":{"rendered":"http:\/\/13.201.39.237\/?p=2546"},"modified":"2026-07-17T20:05:58","modified_gmt":"2026-07-17T14:35:58","slug":"raazi-movie-review-alia-bhatt-meghna-gulzar","status":"publish","type":"post","link":"http:\/\/13.207.105.184\/?p=2546","title":{"rendered":"Raazi: A Deshbhakti Film that Shows the Ugly Side of Patriotism"},"content":{"rendered":"\n

T<\/span><\/p><\/div>

here\u2019s a scene in <\/span>Raazi<\/span><\/i> where, on the last day of 20-year-old Sehmat\u2019s (a vulnerable <\/span>Alia Bhatt<\/span><\/a>) month-long training at the RAW headquarters in<\/span> Delhi<\/span><\/a>, her handler, Khalid Mir (Jaideep Ahlawat) asks her a pertinent question. \u201cWhy did you agree to this?\u201d he asks, still unable to wrap his head around the fact that a <\/span>college girl<\/span><\/a> is ready to have her life and dreams uprooted at the cusp of her youth.<\/span>\n\nHis query isn\u2019t unwarranted; before her induction into the world of Morse codes and revolvers, Sehmat led a seemingly undisturbed life far removed from it, studying at Delhi University. Her father Hidayat Khan\u2019s (Rajit Kapur) ill-fated, terminal lung tumour diagnosis, sets in motion a chain of events that forces a meek yet resourceful Kashmiri girl to mould herself into a masterful <\/span>Indian spy<\/span><\/a>. <\/span>\n\nAs his dying wish, Sehmat\u2019s double agent father wants his daughter to carry forward his legacy of subterfuge in <\/span>Pakistan<\/span><\/a>. Hidayat Khan would pass information about the plans of the Indian military to Pakistani brigadier Parvez Syed (Shishir Sharma) periodically, in the hope of being in the know if Pakistan decides to attack India. But since it\u2019s<\/span> 1971 <\/span><\/a>and the two countries are on the brink of <\/span>war<\/span><\/a>, Sehmat\u2019s role in the proceedings requires a whole lot of sacrifice, determination, and an appetite for brutality. For, Khan decided to marry Sehmat off to Syed\u2019s younger son Iqbal (Vicky Kaushal) so that she could infiltrate an enemy house as the \u201ceyes and ears\u201d of her nation.<\/span>\n\nAnswering Mir\u2019s question, Sehmat echoes her love for her \u201cmulk\u201d (a word repeated generously in the film) and tells him that there\u2019s no way other than prioritising it over her future. \u201cMain mulk hoon. Main hindustan hoon,\u201d she says; an indication of how intertwined her identity is with that of her <\/span>country<\/span><\/a>. In any other film, this would have been the pinnacle of a selfless nationalistic moment that would have elicited raucous seetis and taalis. <\/span>\n\nBut <\/span>Raazi<\/span><\/i> isn\u2019t that film, for this moment is nothing but a ruse. Her \u201creal\u201d answer comes a little later, when she lets slip that for her, <\/span>patriotism<\/span><\/a> is an inheritance, almost like a family business that she\u2019s duty-bound to carry out. <\/span>\n\n\n

Meghna Gulzar’s Raazi<\/em> manages to nuance the idea of patriotism, and lace it with a conscience.<\/p><\/blockquote> \n\nFor a film that has clouds of <\/span>nationalism<\/span><\/a> overpowering every frame, the implication that patriotism is a choice \u2013 one that the protagonists are not even offered \u2013 is a brave one to make. Yet it seamlessly fits in. For Meghna Gulzar has ensured <\/span>Raazi<\/span><\/i> isn\u2019t a patriotic film. Instead, it\u2019s a film about the aftermath of patriotism. At its heart, it\u2019s a doomed ephemeral love story between a Kashmiri spy and a Pakistani army official. It\u2019s also a seething account of the countless women who are left behind as the indirect casualties of enmity. But, most importantly, the film<\/span> is a story of heartfelt loss; of a family, of a wife, and, of a spy\u2019s faith in her \u201cmulk\u201d. <\/span>\n\nIn effect, <\/span>Raazi<\/span><\/i> holds up a defiant mirror to the very foundation of <\/span>patriotism<\/span><\/a>, goading introspection on how we\u2019ve unquestioningly agreed to the pound of flesh it demands, without any bargain. The film brings this out by how empathetically it paints its leads; neither is any Indian a chest-beating, <\/span>handpump-uprooting hero<\/span><\/a>, nor any Pakistani a beard-stroking outright villain. Instead of being glorified, the strains of nationalism are shared. There is no better evidence of this than in \u201cAe Watan\u201d which manages to democratise patriotism, becoming a song that can apply to people on both sides of the borders (It helps that the song is beautifully picturised in the film, where both Sehmat and her students are shown singing it together as an ode to their respective countries). The song\u2019s inclusiveness is further elevated by the fact that it comprises a line from a prayer written by Muhammed Iqbal, considered the \u201cSpiritual Father of Pakistan\u201d.<\/span>\n\nRaazi <\/span><\/i>then examines the duality of patriotism, with a razor-sharp focus on the human cost of the \u201ccourage\u201d required for it. It delves deep into the <\/span>ugliness of patriotism<\/span><\/a>, and its ability to make monsters of us all.<\/span>\n\nTake Sehmat and Iqbal for instance. In any other circumstance (or film), they\u2019d be soulmates. Despite being pushed into togetherness, they develop the sort of connection that most people take years to find. Iqbal is thoughtful and chooses to earn his place in Sehmat\u2019s heart instead of forcing it, while Sehmat takes to showing her concern \u2014 and by extension \u2014 affection in small ways. The first time they kiss, it happens on her own terms and their brief union is laced with a rare kind of sensitive sensuality. (It helps that there\u2019s a woman behind the lens; also evident in how she shoots the training montage without reducing her lead to a sexy, femme-fatale version). It\u2019s precisely why their confrontation toward the end is laced with such melancholy. There\u2019s no one who can understand their nationalistic actions better than the other and yet it\u2019s their respective patriotic duty that sounds the death knell on their union.<\/span>\n\n\"Raazi\n

\n

In a different circumstance or a film, Sehmat and Iqbal would have been soulmates.<\/p>\n

Image credit: Dharma Productions<\/p>\n<\/figcaption>\n<\/figure>\n\nRaazi <\/span><\/i>is an anomaly in an era of films like <\/span>Rustom<\/span><\/i><\/a> and <\/span>Dangal<\/span><\/i><\/a>, where nationalism can be retrofitted into any narrative. Over the years, Bollywood has adopted a reductive grammar of filmmaking when it came to portraying matters of loving one\u2019s country. In most cases, sides are taken, enemies are identified, and a triumphant gaze necessitates pitting one shade of patriotism over the other. In the rule book of <\/span>Bollywood<\/span><\/a> patriotism, there can be no greater win than hyper-nationalism. With <\/span>Raazi<\/span><\/i>, Meghna Gulzar shatters this very trend, doing what most patriotic films don\u2019t even think about: humanising the genre.<\/span>\n\nIn an era where intolerant, chest-beating jingoism is the new moniker for patriotism, and where crimes can be committed with impunity in the name of loving one\u2019s country, <\/span>Raazi <\/span><\/i>manages to nuance the idea of patriotism, and lace it with a conscience. Every time Sehmat manages to decode a confidential document, relay crucial information, or carry out a merciless \u201coperation\u201d on her foster family, there\u2019s no absolute feeling of elation. Instead, the film seems to ask: \u201cIs her betrayal worth it?\u201d <\/span>\n\nThe film just doesn\u2019t depend on the audience\u2019s acute awareness that patriotism is a double-edged sword. Instead, it emphasises it through Sehmat, who is shown unashamedly struggling with the weight of the consequences. It culminates in frequent, predictable breakdowns \u2014 the kinds Bhatt has famously trademarked \u2014 and yet they stand out (especially when she breaks down for the first time under the shower) for what they denote: the unending guilt of it all. <\/span>\n\nBy the end of the film, Sehmat loses almost everything and yet there\u2019s no one to blame, but the person she was forced to become so that her country isn\u2019t \u201cbroken\u201d. <\/span>\n\nRaazi <\/span><\/i>ensures that it\u2019s an irony that is hard to forget.<\/span>\n","protected":false},"excerpt":{"rendered":"

For a film that has clouds of nationalism overpowering every frame, the implication that patriotism is a choice \u2013 one that the protagonists are not even offered \u2013 is a brave one to make. Yet it seamlessly fits in. For Meghna Gulzar has ensured Raazi isn\u2019t a patriotic film. Instead, it\u2019s a film about the aftermath of patriotism.<\/p>\n","protected":false},"author":103,"featured_media":2549,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3114],"tags":[1096,5176,5177,31,5178,262,489,5179,5180,4214],"class_list":["post-2546","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bollywood","tag-alia-bhatt","tag-gulzar","tag-harinder-sikka","tag-kashmir","tag-meghna-gulzar","tag-pakistan","tag-patriotism","tag-raazi","tag-raazi-movie-review","tag-vicky-kaushal"],"yoast_head":"\nRaazi: A Deshbhakti Film that Shows the Ugly Side of Patriotism<\/title>\n<meta name=\"description\" content=\"For a film that has clouds of nationalism overpowering every frame, the implication that patriotism is a choice \u2013 one that the protagonists are not even offered \u2013 is a brave one to make. Yet it seamlessly fits in. 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