Based on the novel, ‘Calling Sehmat’, ‘Raazi’, directed by Meghna Gulzar, is based on true incidents. The novel’s author Harinder Sikka is a retired army officer, who stumbled upon this story during the Kargil war while conversing with an Indian army officer. The officer confided in him about how his mother, a Kashmiri Muslim, had married a Pakistani Army officer to provide India with classified information during the 1971 war.
Harindar Sikka eventually managed to meet the officer’s mother in Malerkotla, Punjab, where she later revealed her entire story. So, all those ‘how can an army family not get suspicious’ kind of criticism doing the rounds for ‘Raazi’ must be put to rest here. After all, truth has always been stranger than fiction.
As a co-writer (along with Bhavani Iyer) and director, Meghna Gulzar creates an ensemble of characters that play with the audience’s minds, without letting them have a whiff about it. To begin with, Sehmat, played to perfection by Alia Bhatt, is inner conscience personified. The character of Iqbal Syed, ably played by Vicky Kaushal is a reflection of the same inner conscience.
The character of Sehmat’s father Hidayat Khan, essayed by Rajit Kapoor stands for patriotism, which is again juxtaposed by its reflection with the character of Brigadier Syed played by the brilliant Shishir Sharma. Sehmat’s trainer, Khalid Mir amazingly played by Jaydeep Ahlawat, embodies duty, which again finds its reflection in Mehboob Syed’s character played by Ashwath Bhatt. Interestingly, Sehmat’s nemesis, Abdul (Aarif Zakariya) is the only character who doesn’t have its mirror image. Abdul represents hatred and extremism, which is common on both sides.
It’s quite rare to see such interesting juxtaposition of characters’ reflections in a film, as if they were pawns of a chessboard, where one set is black, while the other is white. Having placed her characters around this chess-like narrative, Meghna Gulzar compels her audience to oscillate between these characters. This, dear folks, is her masterstroke as a director.
Alia Bhatt is an ace actor who never fails to surprise her audience and one is always tempted to describe her performance as ‘career best’, only to realize later that she has outdone herself in the next film. However, despite her mindbogglingly realistic performance, ‘Raazi’ will always be reckoned as a Director’s Film in the history of Indian cinema, owing to the deft direction of Meghna Gulzar.
‘Raazi’ has the warmth of the seventies films, invoking memories of those ‘chaai moments’ in Hrishikesh Mukherjee films and at the same time has the razor-sharp treatment of a spy thriller, mind you, minus those slickly edited Russian Angle shots. Cinematographer Jay I. Patel and editor Nitin Baid, take a bow!
A digression here: Asutosh Gowarikar’s ‘Swades’ had a scene where Shahrukh Khan’s character Mohan Bhargav states, “Hum mahaan desh nahin hain, lekin hum mein mahaan banne ki kshamta hai.” After Swades, it’s ‘Raazi’ that resonates with the depths of ‘Swades’, evoking the emotions of patriotism in you without resorting to Pakistan bashing or pulling off a handpump with a roar of jingoism.
At the risk of sounding ‘anti-national’, I’d confess that I have never liked the song, ‘Saare jahaan se acha Hindustan hamaara’. Hold on your horses, the ‘Taraana-E-Hind, though beautifully penned by poet Iqbal, not only contradicts o’s ancient philosophy of ‘Vasudhaiva Kutumbakam’ (The world is one family), but also confines one’s love for the motherland to its borders.