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Shikara is a 2020 Indian Hindi-language romantic drama film produced and directed by Vidhu Vinod Chopra. The film is based on the Kashmiri pandit exodus of 1990. The story revolved around the love story of Shanti and Shiv Dhar, who are Kashmiri Pandits in the backdrop of the Exodus of Kashmiri Pandits from Kashmir.[1] The book Our Moon Has Blood Clots by Rahul Pandita has inspired many parts of the movie.[4][5][6][7]
On the set of Love in Kashmir, a young college professor and Ph.D. student Shiv Kumar Dhar meets a medical student Shanti Sapru. They soon becomes friends with each other in their very first meet out of their love for poetry and Shiv being the author to newly published "Shikara". Soon they falls for each other and Shiv proposes Shanti with the help of his best friend Lateef Lone, an aspiring cricketer and the son of a local politician who is like a fatherly figure to Shiv. Soon they get married in a traditional Kashmiri Pandit ritual wedding and Lateef falls for Shanti's best friend Arti (who's also a medical student).
In March 2018, it was reported that a film was shot under the title "Love and Letters" in Kashmir by Vidhu Vinod Chopra. In an interview later, he mentioned that almost entirely film was shot in Kashmir. Initially in Summer, then in autumn and again in Winter. Only refugee camps were recreated in Mumbai and some sequences in Agra, but this part of story is brief. Shots in Kashmir included several places such as the Lalit Hotel in Srinagar, on shikaras in the middle of a lake, on the backwaters of the Dal, in a desolate Hindu house, near Hazratbal and many more.[8]
While it received mixed reviews from critics the general audience and Kashmiri Pandits were critical of the film for failing to tell the story of the exodus, negative reactions were centered on unrealistic portrayals and for focusing on a love story than on the actual exodus.[17][18][19][20]
The film score was composed by A. R. Rahman and his apprentice group Qutub-E-Kripa. This marked Rahman's first collaboration with Vidhu Vinod Chopra, 26 years after Rahman declined an offer by Chopra in 1994.
January 19, 1990, was a black night for all the Kashmiri Pandits who had to flee their beautiful homes in the Valley to live the life of a refugee in their own country. 30 years after the mass exodus of around 4 lakh Pandits, filmmaker Vidhu Vinod Chopra, who had to abandon his home in Kashmir, made a film to tell the world about the plight of Kashmiri Pandits in Shikara.
In a political atmosphere when Kashmiri Pandits are being used to spread hate, Chopra decided to tell the story of love. Shikara is heart wrenching, it will leave you thinking about how dead humanity is and how greed and hatred can ruin even heaven. But it doesn't make you hate a particular community. Shikara inspires hope and courage. It makes you believe in love and that it is only love that can win war. At the same time, it makes you think about the cause of everything that happened and question, why?
Shiv Kumar Dhar (Aadil Khan) and Shanti (Sadia) belong to the perpetually optimistic lot who think they can overcome any situation with love. They get married and start a new life in their new home, Shikara. The communal tension in Kashmir is rising with Kashmiri Muslim youths taking up guns to fight for their freedom. Kashmiri Pandits are asked to leave the Valley with threats of killings and blasts. But the literate Kashmiri Pandit community believes that it will subside eventually. Years pass by, and the violence increases in the Valley and on January 19, 1990, they experience what they never thought they would.
While the story keeps you engaged, it becomes a tad bit boring and predictable in the second half. The director has more focus on the love story of Shiv and Shanti, which we understand is a deliberate effort, but then many would complain that it completely ignores the story of the other side. The screenplay, written by Vidhu Vinod Chopra, Rahul Pandita and Abhijat Joshi, beautifully combines real incidents and a fictional love story. Rahul Pandita, who is a witness to the horrific exodus, brought many stories of his life to the big screen through Shikara. The scene where people in refugee camp run after a vehicle to get tomatoes distributed by a political party is what Rahul Pandita saw in front of his eyes.
Vidhu Vinod Chopra's Shikara is a film on the plight of Kashmiri Pandits made with the right amount of sensibility and compassion. While it touches hearts in many parts, it also compels you to question if everything was clearly black and white with no shades of grey. This love story of hope transports you to Chopra's world of romance we witnessed in films like 1942: A Love Story (1994) and Kareeb (1998). But then we have also seen films like Haider and Maachis, which originate from the same land. Shikara doesn't delve deep into the other side of Kashmir, the way we saw these two films do. In that, it certainly leaves you wanting for more.
"With Love From Kashmir" is a short documentary film made by Raheel Khan which is an attempt to break the stereotypes about Kashmir and showcase the positive and brighter side of the valley which is often ignored by the mainstream media!
Raheel Khan was born and raised in Srinagar, Kashmir. He is currently based in New Delhi, India. Despite being a graduate in Computer applications, his inclination has always been towards film making and photography. Raheel always wanted to pursue Journalism but was unable to do so due to personal reasons, however while pursuing his bachelor's degree he opted for diploma in creative writing & journalism as an additional subject.
It's just a beginning, I have a long way to go and have to learn a lot but I would like to thank Almighty, my parents and well wishers for all their love and support and even to those who never believed in me. I strongly believe that at times we lose but that doesn't make us a failure as long as we keep trying and we keep going!
Fast forward to a few decades later, and the lens of Hindi cinema focused on a Kashmir that now echoed with thundering sounds, a place where love stories blossomed amidst the shadows of conflict. The narrative had shifted, and with it, the portrayal of a region ensnared in a complex web of political, social, and legal dilemmas. Kashmir was no longer just the serene backdrop of romantic sagas, but a protagonist, narrating tales of strife, survival, and the quest for justice.
As the reels rolled, the characters on screen began to voice the unspoken, question the unquestioned, and challenge the status quo, leading the audience on a journey through the labyrinth of international law, and its nuanced implications on the lives ensnared in the tangle of the Kashmir conflict. Hindi cinema, once a dream merchant selling tales of love and valour, had matured into a platform sparking dialogues on the intricate dance between politics, law, and the human cost of conflict.
In the bygone era of the 1980s, Hindi cinema often painted Kashmir with strokes of romanticism, encapsulating its breath-taking beauty and serene landscapes. Films from this time predominantly showcased the region as a peaceful haven, a poetic escape where love blossomed amidst the picturesque valleys and tranquil lakes. The political undertones and the burgeoning conflict were often obscured by the melodious tunes and the enamoured couples dancing in the meadows of Gulmarg.
Moreover, the portrayal of the armed forces and the insurgency also shed a light, albeit dim, on the legal frameworks governing the conflict. However, the engagement with international law was limited at best, often overshadowed by the overpowering nationalistic narrative. The films seldom delved into the complexities of the Kashmir issue from a legal perspective, especially the international legal implications of the conflict, human rights issues, or the disputed territorial claims.
The narrative shift not only reflects a growing awareness but also nudges the viewers towards understanding the broader political and legal implications. The films and digital narratives act as a mirror, reflecting the evolving public discourse and at times, catalysing discussions on crucial issues like human rights and international law. Moreover, the global reach of digital platforms has broadened the discourse, engaging the Indian diaspora and international audiences, thus adding diverse perspectives to the conversation.
Recently, documents were discovered proving that beginning in 1969, she spied and informed on him back to the [Communist] government. That was a shocking discovery for him: He loved her very much. He claims she loved him too.
Flashbacking to the Srinagar style night and the time he spent in the city with Rediff.com Senior Contributor Roshmila Bhattacharya, Saqib says, "The three days I spent in Srinagar, I feasted on all that I had loved as a kid, from Rista to Tabak Maaz. Also, Kashmiri Rajma. Whatever I ate, I posted on Instagram. Soon my trainer was calling to say, "Sir, kya kar rahe ho?."
Nearly 350 film crews have been permitted to shoot in Jammu & Kashmir over the last two years, a record number in the past four decades. Besides mainstream Hindi films, movies and series in Punjabi, Urdu, Telugu, Kannada and a series for History TV18, called OMG! Yeh Mera India, have also been shot in Kashmir.
Kashmir was a popular filming destination until the 1980s, but after the insurgency started, there was a gap. The industry resumed filming after a 30-year hiatus, and the government received hundreds of requests from producers to shoot their movies here.
Many film makers wanted to shoot their films here since the new film policy was introduced by the administration of union territory of Jammu and Kashmir. In Kashmir, the department of tourism also assists them, and anyone looking to shoot a movie should contact DIPR for help.
The hopes of Kashmiri hoteliers and houseboat owners have increased as Bollywood directors like Karan Johar have picked Kashmir as the location for their films, since they anticipate a significant influx of filmgoers from the industry.
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