A second look at the handful of brave Hindi films that dealt with distrust and alienation in the Muslim community with sincerity and understanding.
The final image from M.S.Sathyu’s poignant 1973 masterpiece, Garam Hava, is Salim Mirza (Balraj Sahni at his sensitive best) following his younger son Sikander (Farooque Sheikh’s debut), to join the march led by leftists, fighting for the rights of the unemployed and minorities. It is an image that clutches at fragile hope after the family has been traumatised by the pain of Partition: many of the joint family living in an ancestral haveli in Agra have left for the new promised land for Muslims, Mirza’s shoe factory has been closed, suspicion of Muslims has poisoned the air. Mirza is heartbroken after his darling daughter’s suicide when two suitors betray her after promising to come back from Pakistan to marry. Utterly bereft of all options, Mirza gets off the tonga to join the protest, putting his faith in the land of his birth. The film is set in 1948, after Gandhiji’s assassination. Scripted by KaifiAzmi and Shama Zaidi from an Ismat Chughtai story, Garam Hava is as relevant today as it was then.
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