Director Vivek Ranjan Agnihotri’s film ‘The Kashmir Files’ has stirred up the public discourse within a week of its release on 11th March 2022. The film depicts the genocide of the Kashmiri Hindus by Islamic terrorists that happened in the 1990s and their subsequent exodus. The movie is drawing more viewers to the cinema halls with every passing day. ‘The Kashmir Files’, directed by Vivek Ranjan Agnihotri, has been declared tax-free by many state governments like Uttar Pradesh, Goa, Gujarat, Haryana, Madhya Pradesh, Karnataka, Bihar, and Uttarakhand.
The box office collection of the film crossed the mark of rupees 100 crores on the 8th day. But the mark it has left in the minds of people is priceless and it is, therefore, necessary to keep an account of the subtle nuances people have noticed in the film and have talked about, along with the ones people must not miss while watching and even after watching this film. Some of these details trace their references in the Indic mythology and faiths, especially from Mahabharata. Let us have a look at them as the film unfolds itself.
The film opens with a boy called Shiva playing cricket. Shiva is believed to be the ultimate force in the Indic faiths. Shiva is Anadi and Ananta that is Shiva does not have any beginning or end; it is Sanatan that is perpetual. This very name in the beginning scene subtly establishes the existence of the oldest surviving civilization in Kashmir that is essentially Hindu civilization and in a true sense the cradle of human civilization.
A viewer named Ganraj tweeted in detail, the nuances he noticed. He wrote, “Mithun Chakraborty’s name is Brahma Dutt. Punit Issar’s name is Hari Narayan. Atul Shrivastava is Vishnu Ram. Finally, Prakash Belawadi is Mahesh Kumar.”
This character establishment underlines the three lords Brahma, Vishnu, and Mahesh. In the film, Brahma Dutt is an IAS officer. Hari Narayan is a police officer of DGP rank. Vishnu Ram played by Atul Shrivastava is a media person and Mahesh Kumar played by Prakash Belawadi is a doctor. Mrunal Kulkarni’s character in this film is named Lakshmi Dutt. Ganraj explained his observations in the subsequent tweet. He wrote, “Brahma Dutt represents the Govt. Hari Narain represents the Police or Law and Order. And finally, Vishnu Ram represents the Press of India. The movie shows – in very clear terms the inactions or helplessness of these institutions while the atrocities were happening.”
Ganraj wrote in his next tweet, “Finally the movie depicts the fight between two narratives. On one side you have Radhika Menon (played by Pallavi Joshi) and Bitta Karate (played by Chinmay Mandlekar). On another side, you have the Trimurtis and Pushkar Nath (played by Anupam Kher). The question is what are they fighting about? And what for?”
Anupam Kher played the role of Pushkar Nath Pandit in this film. The nameplate on his house in the film says Pushkar Nath Pandit is M. A. in philosophy. He is also seen as a theatre coach. While leaving Kashmir, which is in the scene of the exodus, Pushkar Nath Pandit’s family seeks temporary asylum in a poet’s house. All these things are a testimony of the rich culture rooted in Kashmir, of course essentially Hindu in nature, that was wiped away in this genocide and exodus. Rather, it is not the first time in 1990 that the Kashmiri Hindus had faced the atrocities. In fact, the film itself clears it that it was the seventh exodus.
Ganraj wrote in his next tweet, “In simple terms, they are fighting for the attention of Krishna (played by Darshan Kumar). Krishna in this movie represents the youth of India. And finally, Krishna makes a speech.”
Krishna Pandit in this movie is depicted as a confused youth who does not exactly know about his past thanks to the brainwashing guides like Radhika Menon (played by Pallavi Joshi). Even on his journey to know the truth about himself, Krishna is quite easily distracted by the Islamic terrorist Bitta (played by Chinmay Mandlekar). In fact, Krishna in the film is as confused as the warrior Arjuna in Mahabharata. Arjuna sought clarity of thoughts before the Mahabharata war started. It was only after Lord Krishna’s advice that he picked up his arms and fought for justice. Krishna in this film is no different.
While talking to OpIndia about this thread by Ganraj, director Vivek Ranjan Agnihotri said, “I am so delighted that this person caught the nuance so well. There is also a cue in the film where Bitta tells him – Your name is Krishna but you look like Arjuna. Because Krishna is dual here. He is also the keeper of Dharma but he is also the audience’s point of view which is Arjuna.”
And truly, the audience was so confused and ill-informed about the reality of the genocide of the Kashmiri Hindus that took place in 1990. Rather, it was not known as genocide before this film. Now that the people are knowing the truth, they have become as fearless as the warrior Arjuna. What The Kashmir Files is fighting right from the beginning is the war of narrative. In fact, it is a war against the so-called popular narrative.
Ganraj wrote in his next tweet, “We know that whoever has Krishna on their side, will have dharma on their side – which is why both of them were fighting for Krishna. As stated in the last line of Bhagavat Gita.” The last line in Bhagvadgeeta means, “Wherever is Krishna, the Lord of Yoga; wherever is Arjuna, the wielder of the bow; there are prosperity, victory, happiness, and firm policy; such is my conviction.”
Ganraj noted this in absolute cohesion with what the director thought. He wrote in his next tweet, “Who is Arjuna? It is you, the audience. Because at the end of you are the warriors. You have to decide whether you want to stand up to Adharma or not.” And this subtle nuance has translated very well amongst the viewers. Its impact is also seen as the people are talking openly about the topic that was ignored for more than three decades.
Finally, Ganraj concluded his thread with something that no viewer should miss notice. He wrote, “Finally, what did we lose in this whole genocide? Sharada (played by Bhasha Sumbli) in other words knowledge or Saraswati. Kashmir and the Kashmiri Pandits who held the seat of our Knowledge for millenniums have been murdered. I think this subtle meta detail is the genius in this movie. Thank you Vivek Agnihotri. I wanted the world to recognize this.”
Besides the peculiarities noticed by Ganraj, there are a few more things one must notice while watching The Kashmir Files. Vivek Agnihotri has said while speaking to OpIndia, “The film ends with the killing of the boy named Shiva. It was Shiva who had consumed poison for the welfare of the universe. While watching the film, viewers must also remember that the Himalayan valley of Kashmir is the birthplace of the best of the creations mankind has ever had.
Sharada in this film is shown as the epitome of the love and care for a family one may ever have. Even in exile, she teaches her son to focus on studies rather than encouraging him to take a path of violence for avenging the atrocities they faced. It is evident that she emphasizes education which is the true worship of Sharada. On the other hand, the stone-pelting Kashmiri youths shown in the popular narrative so far are always seen talking about the injustice done with them and they want to fight for their so-called Azadi. It is notable that the Sharada Peeth, the abode of Goddess Sharada, which is presently in POK is desecrated by similar Jihadis carrying Islamist ideology in their heads. Pushkar Nath Pandit teaches the kid to face their inner and outer fear and convert it into strength. This is something very basic as taught in Indic philosophies. It is due to this advice that the little kid fearlessly faces death with wide-open eyes.
Pushkar Nath Pandit – a drama teacher – hails from that land of Kashmir where Bharat Muni wrote the ‘Natya Shastra’ which is the pioneering document of drama studies. His face colored like that of Shiva and the depths of acting he has explored in the film terminally shatter the anti-Hindu narratives built by films like PK and Tandav. As Brahma Dutt, the character played by Mithun Chakraborty in this film reconsecrates the deity in the old home at Kashmir after the abrogation of article 370, one may naturally recall that it is Lord Brahma who reinitiates the things once they are destroyed. Krishna’s speech in the climax is as eye-opening to the viewer to clear the confusion about the Kashmir issue.
The Kashmir Files is filled with so many minute details. Many viewers and critics have agreed upon a thing that there is hardly any unnecessary frame in The Kashmir Files. Now, it is up to the audience to watch the film and trace out such symbols and inclusions – both visual and verbal – in this film that find their roots in Indic faiths and philosophies. Known for his ‘seeker attitude’ and philosophical acumen, director Vivek Ranjan Agnihotri has thus concluded it while talking to OpIndia saying, “There are many subtle nuances and layers in the film and I would want the audience to recognize them.”
