Kalank movie review: Alia Bhatt, Varun Dhawan are charming in the midst of damaging Hindu-Muslim politics
FirstpostLanguage: Hindi Between one and two million people are believed to have been killed and 15 million displaced from their homes in the brutal aftermath of India’s Independence and Partition. It takes a particularly monumental level of opportunism or apathy though, at a time when India’s Muslims are being demonised by the ruling right-wing establishment and its majoritarian Hindu supporters, to tell a Partition-era story in which Muslims are the perpetrators of all violence and manipulation, while Hindu characters are painted in gentle, pastel shades. Roop heads to the town’s Muslim quarters, evidently less privileged than hers, where she meets the tawaif Bahaar Begum and the Casanova Zafar. In Kalank’s scheme of things, Roop symbolises undiluted goodness, a young Mother India figure of sorts over whom everyone is fighting, torn between love/passion and duty, somehow always staying on the righteous path, never meaning anyone harm, an innocent victim of her circumstances. In the midst of a spectacular performance by Bhatt, Dhawan’s sensitive turn as Zafar, and Dixit’s stately, statuesque presence, woven around those stunning costumes, extravagant sets, lavishly choreographed dance sequences and some pleasant music by Pritam, lies a tale that even while speaking of the strength of love versus hatred, still does precisely what Mani Ratnam’s Tamil film Bombay got away with doing over two decades back: it takes sides while not appearing to do so.