{"id":4529,"date":"2016-03-02T01:24:27","date_gmt":"2016-03-01T19:54:27","guid":{"rendered":"http:\/\/13.201.39.237\/?p=4529"},"modified":"2016-03-02T01:24:27","modified_gmt":"2016-03-01T19:54:27","slug":"hazaaron-khwaishein-aisi-political-film","status":"publish","type":"post","link":"https:\/\/www.arre.co.in\/?p=4529","title":{"rendered":"14 Years of Hazaaron Khwaishein Aisi: Why Sudhir Mishra\u2019s Emergency Drama is the Definitive Political Film of Our Generation"},"content":{"rendered":"\n

R<\/span>oughly 30 minutes into Sudhir Mishra\u2019s <\/p>Hazaaron Khwaishein Aisi<\/span><\/i>, its <\/span>protagonist<\/span><\/a> Siddharth (Kay Kay Menon) \u2013 a revolutionary student leader who is inspired by the global surge in leftist politics of the 1960\u2019s and 70\u2019s \u2013 writes a letter to his girlfriend Geeta (Chitrangada Singh). In it, he describes the political struggle and caste dynamics of a remote village in Bihar. The story goes like this: A group of enraged lower-caste peasants protesting against their oppressive rulers find empathy for their Thakur landlord when he suddenly suffers a cardiac arrest. Their internalised sense of servitude instantly forces them into finding him the necessary medical aid and in that moment, all their grievances take a <\/span>backseat<\/span><\/a>. Narrating this story, Siddharth writes, \u201cDelhi and Bhojpur are not merely separated by a thousand miles but also by five thousand years\u201d. <\/span>\n\nFew cinematic moments describe India\u2019s urban-rural divide and all its glorious contradictions more scathingly than this statement. It\u2019s the point where Siddharth \u2013 and the viewer \u2013 realise why revolutionary ideas take so long to transcend socio-cultural <\/span>barriers<\/span><\/a>. This scene encapsulates how the loaded Marxist ideals of the leftist academia carry little weight among the people it is actually meant to uplift. For their realities are different. It\u2019s the distinction that Mishra eloquently makes in <\/span>Hazaaron Khwaishein Aisi: <\/span><\/i>That the language of revolution is not universal and demands to be recalibrated and localised. Yet this is also where the Indian left \u2013 in the film and in real life \u2013 fails. <\/span>\n\nSet against the backdrop of the Emergency, <\/span>Hazaaron Khwaishein Aisi <\/span><\/i>follows Siddharth over a course of events that force him to acknowledge the futility of a revolution and ultimately abandon the rigged and helpless fight against the state. The shallowness of Siddharth\u2019s sanctimonious sermons on courage and <\/span>commitment<\/span><\/a> is laid bare when he flees for a life of comfort in London the minute his defeat looks imminent. His \u201ccause\u201d no longer feels sacrosanct when he grasps the gravity of the state\u2019s power. Being born to an influential father helps Siddharth escape in the end, although it\u2019s a luxury that many of his comrades can\u2019t afford.<\/span>\n\nIn fact, according to his friend, Vikram (Shiney Ahuja), Siddharth was always a bourgeois \u2013 a recreational \u2013 revolutionary, pretending to fight the system that fed him. Even though, Vikram had his own reasons to regard Siddharth as an adversary, his cynicism toward student politics is actually rooted in his working-class upbringing. Unlike Siddharth, his life existed at the mercy of the Indian class system and was never a <\/span>privilege<\/span><\/a>, so Vikram is unable to accept Siddharth\u2019s ideas of a classless, democratic society. In the film, both Siddharth and Vikram, represent a diametrically opposite outlook of politics and the country, which still manages to explicitly capture the minds of the youth today, nearly 50 years from the time the film was set in. Even now, it essentially boils down to how the youth sees the world they live in: It\u2019s a clash between those wanting to topple the social order against those exploiting it to their advantage; an empathetic worldview against a <\/span>ruthless<\/span><\/a> one; and more reductively, socialism against capitalism.<\/span>\n\nMishra brings out the disconnect between leftist politics and the people it is meant to serve, in another scene, where a communist leader addresses a rally of farmers and makes a reference to Hitler\u2019s party. On hearing his grand proclamation, a befuddled man in the crowd sincerely asks another, who Hitler is, to which the latter replies, \u201cDefinitely not from my <\/span>village<\/span><\/a>!\u201d It\u2019s a quiet indictment on the cluelessness of the Indian Left, who\u2019re still lost in the romance of the ideologies of Lenin, Pol Pot, and Mao \u2013 failing to admit their lack of relevance in today\u2019s discourse.<\/span>\n

It\u2019s extraordinary how a film made in 2005 managed to foreshadow a reality that the Left is waking up to, only now.<\/blockquote>\nAt the moment, the Left occupy a peculiar standing in the country: In principle, the leftist ideology still holds a significant appeal across the country and yet it has failed to yield any electoral dividends outside the states of West Bengal, Tripura, and Kerala. Even though these states have seen strong communist ideals of agrarian, industrial, and <\/span>administrative <\/span><\/a>reforms implemented over the years, the Left is still perceived as a regional force for its inability to conquer the North. On the other hand, parties like the SP, BSP, and RJD in the Hindi heartland \u2013 without explicitly declaring themselves leftist \u2013 have achieved considerable results on the fronts of social justice and equality.<\/span>\n\nIn fact, among the urban, aspirational middle class, the Left has long lost the battle of perceptions. The moralist ideas that the Left espouses end up harming the <\/span>middle class<\/span><\/a>, who are made to concede their share to those who haven\u2019t \u201cearned it\u201d. And moreover, the state machinery \u2013 particularly the current right leaning one \u2013 has managed to successfully other the Left. It continues being seen as an entity that provides the necessary apparatus to forces that are pledged enemies of the state. And the Left\u2019s history of leaders like Kanu Sanyal and Charu Majumdar, who have been advocates of violence against the state, doesn\u2019t help bust these assumptions. <\/span>\n\nYet what the Indian Left is yet to realise, is that the trouble with waging a war against the state is that public opinion will inevitably side with the state. In the film for instance, Siddharth realises that his fight against the established social order has eventually transformed into an extended armed struggle against the state. The pointlessness of that struggle dawns on him when he realises just how easily the state can quash it. It\u2019s this eternal debate between the Left\u2019s \u201ccause\u201d and its ability to propagate \u201c<\/span>change<\/span><\/a>\u201d that Mishra critiques in <\/span>Hazaaron Khwaishein Aisi. <\/span><\/i>The film points out how this extending fight against the state renders the Indian Left incapable of fulfilling their commitment to deliver social justice. It\u2019s extraordinary how a film made in 2005 managed to foreshadow a reality that the Left is waking up to, only now.<\/span>\n\nPerhaps, it\u2019s a silver lining then, that in 2019, young leftist leaders like Jignesh Mevani and Kanhaiya Kumar have avoided endorsing a violent struggle against the state. Mevani is already a member of the Gujarat state assembly while Kumar is all set to contest the elections. Their decision to find ways of revolting within the structures instead of trying to topple them from the outside, feels like an antidote to the Indian Left\u2019s misguided and continued <\/span>romanticisation<\/span><\/a> of their \u201ccause\u201d \u2013 their moral high ground. <\/span>\n\nIt\u2019s apt then, that as the country entered the second phase of elections this week, Sudhir Mishra\u2019s <\/span>Hazaaron Khwaishein Aisi<\/span><\/i> \u2013 a film that also rebels against an industry that has embraced the idea of being \u201capolitical\u201d\u2013 completes 14 years. The film\u2019s title is borrowed from a famous poem by Mirza Ghalib, that translates to \u201cA Thousand <\/span>Desires<\/span><\/a> Such As These\u201d. For a political struggle nearly junked into oblivion and yet clawing its way back to relevance, it\u2019s indeed about hanging onto a thousand desires.<\/span>\n","protected":false},"excerpt":{"rendered":"

Sudhir Mishra’s Hazaaron Khwaishein Aisi critiques the eternal debate between the Indian Left\u2019s romanticism of its \u201ccause\u201d and its ability to propagate \u201cchange\u201d. It\u2019s extraordinary how a film made in 2005 managed to foreshadow a reality that the Left is waking up to, only now.<\/p>\n","protected":false},"author":251,"featured_media":4530,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3114],"tags":[6199,4126,7832,8053,8054,33,8055,1297],"class_list":["post-4529","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bollywood","tag-emergency","tag-film","tag-generation","tag-hazaaron-khwaishein-aisi","tag-kay-kay-menon","tag-politics","tag-shiney-ahuja","tag-sudhir-mishra"],"yoast_head":"\n14 Years of Hazaaron Khwaishein Aisi: Why Sudhir Mishra\u2019s Emergency Drama is the Definitive Political Film of Our Generation<\/title>\n<meta name=\"description\" content=\"Sudhir Mishra's Hazaaron Khwaishein Aisi critiques the eternal debate between the Indian Left\u2019s romanticism of its \u201ccause\u201d and its ability to propagate \u201cchange\u201d. 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