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Emotion at the Cost of Truth: One Kaur’s Experience Viewing Punjab 1984

admin June 27, 2014 2 Comments
Emotion at the Cost of Truth: One Kaur’s Experience Viewing Punjab 1984

The following review was written by Jasmin Kaur, a founding organizer of Azaadi.

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Last night, I went to a showing of Punjab 1984. Writing when you’re emotional has its place, but I chose to step away from my immediate feelings after walking out of the theatre last night and reflect on how I actually felt after I was able to separate myself from that experience somewhat.

I stepped into that theatre not entirely knowing what to expect, but not expecting something like Sadda Haq (which I thought was really well done). And then the movie started and I was taken aback by the realness of the images before me, by the humanness of the families being portrayed and by the storyline that was developing. It drew feeling out of you.

Just to get you up to speed, Shivjit Singh (Diljit) is a kharku singh who is moved to join the Khalistan freedom movement after his father is killed in the 1984 attack on Darbar Sahib (his death justified by Panjab police with a baseless allegation that he was a terrorist) and he himself is tortured in police interrogation. Experiencing firsthand the brutality of Panjab police and injustice within India’s judicial system, he takes up armed resistance against the state. Were I to have walked out of the theatre before the end of the first half, I would have had trouble writing a coherent review encouraging you to watch it because I was truly moved by the humanness of the story that was being depicted.

But then comes the second half. For those who have seen it already and those who are going to see it, you may have different reactions to this portion. The second half of the film is largely dedicated to portraying the film’s perception of the actions of kharku singhs. Emphasis on the word ‘perception’. The first major depiction is of Shivjit Singh placing explosives on a bus full of innocent people, which his “higher-ups” demanded of him. The next was imagery of kharkus lining up innocent Hindus, even those who were Khalistani sympathizers, and shooting them with as much discrimination as Panjab police. After that came the killing of a rehatvaan (spiritually disciplined) kharku singh by corrupted “kharku singhs”. Suddenly I was no longer teary-eyed and emotional over the film, but aware that I needed to analyze the content with a sobered sense of detachment.

You can question what the purpose in these portrayals was. Perhaps, in the film-maker’s eyes, it was to reflect the human reality of those placed on all spectrums of the Panjab struggle. Perhaps it was to appease those in Panjab who have an interest in preventing outright sympathy with the Khalistan movement. Perhaps it was the film’s attempt to make everyone happy. The practical implication, however, was that most Khalistani freedom fighters are self-interested, manipulative and corrupted.

The implication of this portrayal of the Khalistan movement was that if you are not the type of person to critically analyze the media that you are viewing, or do not have a solid base of knowledge on 1984 and the freedom movement to begin with, or were simply drawn into the emotional roller coaster that the film was attempting to take you on, you would leave with the perception that the struggle for Khalistan was obsolete because the only kharku who can remain true to his cause is a fictionalized, idealized character played by Diljit.

This is where it should start concerning you that one of the main characters who you can sympathize with and believe in throughout is a famous, well-known celebrity. Celebrities are different than real people, right? Only someone so plainly exceptional could have come out of the movement so morally unscathed, right?

Where Sadda Haq acted as a well-written argument for the relevance of the Panjab freedom movement, Punjab 1984 was an emotional trip that attempted to humanize a political struggle while forgetting (perhaps conveniently) to build a factual base for the emotional content that was being showered upon the audience. For someone walking into that theatre with limited background knowledge to see the main portrayal of a kharku jathebandi as being succumbed to corruption and openly opposing Sikh values, a judgement is going to be made about the overall sincerity of the Khalistan movement. If this film was packaged as a reflection of the Khalistan movement, the producers should have spoken to actual freedom fighters and those central to the Khalistan movement before attempting to create a script. Creating judgements from the sidelines about a movement with deep complexities was plainly irresponsible on the production team’s part.

By no means am I saying that every individual involved in the Khalistan movement was a reflection of Sikh values. That is the humanness of any freedom struggle. Humans don’t come pre-labelled as good or bad – it is a spectrum. But for this film to portray the steadfast and morally true kharkus as the rare minority was backwards and harmful. It is not a reflection of the ideological roots of the Khalistan movement and serves to undermine the validity of that struggle.

This film did little justice to the ideology of the Khalistan movement. No doubt, it left you feeling emotional and charged up, but I question whether the emotional build-up was actually a good thing. Without proper context established for 1984 and without proper explanation for the purpose of Khalistan, (other than what you can infer through emotion) the audience is left with dangerous gaps. Yes, it’s important to feel and to experience through emotion, but hasn’t our community been doing that for long enough? What we are missing is dialogue and critical analysis. To charge up an audience and leave them ultimately feeling disillusioned to everyone in this film but an idealized celebrity figure is wrong, in my opinion.

I would not encourage someone with no background information about the Khalistan movement to watch this film and accept it as a remotely accurate portrayal of Khalistani freedom fighters or the ideology of the Khalistan movement. I think the primary benefit in viewing this film, however, is for the purpose of analysis and critical discussion. If you watch the film, take out the time to really analyze the content that’s being presented to you. It’s easy to see through the lens of emotion and lose sight of the problematic content being represented.

 

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2 Comments

  1. Jasjeet Singh June 28, 2014 at 3:08 am

    We should give some space to film makers. I don’t think the movie is against Sikh Jujharoos or even about Jujharoos. This is a story of a small family who was not involved with either side and the atrocities of police forced him in a situation where he picks up arms to take revenge. The Director beautifully showed the alliance between black cats, police and political leaders who were involved in innocent killings such as Bus incident. This is good movie for a layman especially today’s youth who doesn’t know anything about 1980s events . No doubt it does not analyse deep enough the reasons of the Sikh movement and designed plan of Indian government. I think we want to see on screen what we like or what we believe. It’s absolutely unfair to say the movie is a product of the Government. No one is going to try to make a film on Sikh issues if we kept this type of behavior.

  2. Parminder Singh Mann June 30, 2014 at 5:02 pm

    I agree with Jasjeet Singh. Here is my review of the film if you wish to post it for people to read a different perspective:

    Review of ‘Punjab 1984′:

    First and foremost, one must applaud the casting, directing, acting, cinematography, historical topic research, and musical numbers of the film, ‘Punjab 1984′.

    Kirron Kher is the elite actress expected to give an extraordinary performance, but even this one seemed to have topped any other performance I have seen from her. Her role of Shivjeet’s mother reminded me of her role in, ‘Khamosh Pani’ or ‘Silent Waters’, a French/German production about the period of strife in Pakistan under General Zia-Ul-Haq; another noteworthy performance.

    The singer turned actor, Diljit Dosanjh, has shown how he has taken the next step in his acting career to be called an actor, and not just a singer trying to be an actor. His role of the common Punjabi youth drawn into political, social, and revolutionary circumstances, does an unbelievable justice to the topic of 1984 and Punjab.

    I was afraid of this film being an inaccurate representation of the Sikh movement against state repression. This fear came about from some random comments on Facebook by some viewers of the film and also by a review on Sikhsiyasat.net. I’m not professing that my review represents the view of all viewers, but rather, my review is just that, my personal interpretation of the screenplay.

    The film portrays how people used the excesses being committed by security forces and the state machinery to settle personal scores, i.e. taking over land or property. Many people used their connections with the police and politicians to get their rivals disappeared or tortured by labeling them as “Atwaadis” or terrorists. The film accurately shows how the police committed fake encounters, planted cases on Sikh youth without any investigation or trial.

    The matter that I appreciated the most, was that the film shows how ordinary youth, such as Shivjeet Singh, the lead role played by Diljit, were drawn into this inhumane cyclone of state repression and counter actions by armed Sikh groups. The average Sikh youth, prompted by the strong emotions to live fearlessly, to live with honor and dignity, and to be treated as citizens of the nation rather than second class citizens, joined the ranks of the khadku jathas.

    Some people have an issue with this film because the film also shows how some youth in the guise of khadkus were actually hand in glove with powerful politicians and were not in the movement for the larger goals of the Sikh panth. Having read the interviews of Shaheed Baba Gurbachan Singh Ji Manochahal, I believe the movie very accurately captured these complex and self defeating realities. Baba Gurbachan Singh Ji mentions in his interview with well known Punjabi journalist Kanwar Sandhu that many youth had joined the khadku movement, but, instead of helping the Qaum, actually hurt it because they have picked up weapons and are using them on innocent people, which alienated the Punjabi masses to the Sikh struggle for justice and freedom. He goes onto to mention how his group had to kill some of these rotten apples who had joined the ranks of the Sikh freedom fighters.

    It is important to note that the Indian government used a very powerful strategy in creating “Black Cats” that wore the garb of Sikh khadkus, dumallas, chola, and panj kakaars. Their mission was to tarnish the image of the Sikh freedom fighters so that no Punjabi would be willing to offer shelter or food. Many politicians and high ranking police officials had their personal groups of black cats, such as the infamous fake Nihang Poohla, ‘The Alam Sena'(senior superintendent of police (Jalandhar) Mohammad Izhar Alam’s peronsal band of fake khadkus who terrorized the masses in the countryside), and so forth. The film shows this nexus and I believe some people are interpreting this as showing the Sikh freedom fighters in a bad light. Anyone who has studied the Sikh freedom struggle of the 80s and early 90s can attest to the fact that such people did exist that had a mission to harm the motives of the struggle, either intentionally or unintentionally.

    The film captures the audience in a dramatic story which any viewer can relate to regardless of one’s social, religious, or political views. The story of a mother and her only child and the pain of an unexpected separation in a time when many sons never returned home and many that did, returned as ashes.

    I recommend this film 200%. Well done Mr. Anurag Singh! Well done to the whole cast and crew.

    -P.S. Mann

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