Bollywood movie shikara Vidhu Vinod Chopra Film Review
Director: Vidhu Vinod Chopra / Cast: Aadil Khan, Sadia Khateeb
Shikara, Victim of director-producer Vidhu Vinod Chopra‘s own admission, a Kashmir love letter dedicated to the memory of his mother Shanti Devi, who could not return to the country on behalf of Kashmiri scholars due to the insurgency that began in the eighties, culminating in a mass exodus on January 1990. It is certainly Chopra’s most personal film and perhaps for those reasons, it is extremely sensitive. The film is set in Agra by an elderly Kashmiri couple at the invitation of the visiting US President.
However, as the scenes unfold we realize that the president is a parody, an enchanting almost wonderful desire metaphor for their lives that will not fully fulfill itself. Shanti (Sadia) and Shiv Kumar Dhar (Aadil Khan) Life is love. Shiva is a man of one caste, a poet and a scholar, and a wife of peace, a point. Their most beautiful places in the world, such as an idyllic life in Kashmir. Unfortunately, as their love bonds strengthen, things in the Valley begin to get ugly. What you see at the beginning of the film is a general criterion between different religions, but as the film progresses, lines of guilt begin to appear until life is cut short and destroyed. Shikara has moved away from determining the region’s politics in a few movies that have heard stories of Kashmiri scholars being deported from the valley as a result of extremist infiltration from neighboring Pakistan. Instead, it rests on a private journey from the first journey of peace and Shiva to the twilight years.
With their relocation from the perfect home in Kashmir to the Jammu refugee camp, they witnessed love and betrayal on an equal scale. Written by Vidhu Vinod Chopra, Abhijat Joshi, and Rahul Pandita, the beauty of this film lies in the ordinary life held in extraordinary circumstances, the reason for which is torn from their roots without knowing the reason. Keeping away from aggressive details and optics drove by armed conflict, this is one of peace. It lamented the unraveling of the intimate social fabric of all religions in Kashmir. There are moments in the picture – like when Shiva persuaded Shiva to sell his house in Kashmir – to meet a stranger wearing his own relative’s (Priyanshu Chatterjee) coat – which is heartbreaking. Fortunately, the cool shadows are driven away by the triumph. Such a little boy ends up as a top neurosurgeon when the lifter utters the temple-masjid slogan. Apparently, Shikara is analogous to a painting, a great production with dramatic cinematography by Rangarajan Rambadarn and a master piece of costume design.
A.R. Its music helps Rahman maintain the appropriate lilting melody for a love story. However, it has to do with wielding Chopra’s director’s stick, where the credit for encouraging his hard work with the true element must rest on his laurels; His choices for the lead actor named Sadia and Adil Khan, an often missing critical part in Bollywood films, are impeccable. They become adept at the characters of Shanti and Shiva, sensitive to sensual sensations, rarely slipping into a testosterone-driven frenzy. Shikara is indeed a sympathetic memory of the tragedy of the Kashmiri people, pointing to love and forgiveness as the only way forward.