Posted on 06/01/2002 12:04:23 PM PDT by freeforall
Deepa Mehta directed this Indian-Canadian romantic drama, the second part of a trilogy. Based on Bapsi Sidhwa's autobiography, Cracking India, the story is set in 1947 in Lahore, where Hindu, Sikh, Parsee, and Muslim share a peaceful co-existence. Events are seen from the point of view of eight-year-old Lenny (Maia Sethna), a girl from an affluent Parsee family. Lenny's nanny, Shantya (Nandita Das), is involved with the Muslim Masseur (Rahul Khanna). When a train of Muslims arrives at the local depot and all the passengers are found murdered, the various sects turn against each other, and the city is soon aflame.
If the people of Iran rose up, threw off the yoke of *sl*m, and renewed the Zoroastrian faith, it would not be the worst thing they could do.
NO i haven't seen it but have heard of it. Check out www.monsoonweddingmovie.com. Same lady who directed Salaam, Bombay and Mississipi Masala.
ANYONE who wants to wade through Gandhi's endless ruminations about himsa and ahimsa (violence and nonviolence) is welcome to do so, but it is impossible for the skeptical reader to avoid the conclusion--let us say in 1920, when swaraj (home rule) was all the rage and Gandhi's inner voice started telling him that ahimsa was the thing--that this inner voice knew what it was talking about. By this I mean that, though Gandhi talked with the tongue of Hindu gods and sacred scriptures, his inner voice had a strong sense of expediency. Britain, if only comparatively speaking, was a moral nation, and nonviolent civil disobedience was plainly the best and most effective way of achieving Indian independence. Skeptics might also not be surprised to learn that as independence approached, Gandhi's inner voice began to change its tune. It has been reported that Gandhi "half-welcomed" the civil war that broke out in the last days. Even a fratricidal "bloodbath" (Gandhi's word) would be preferable to the British.
And suddenly Gandhi began endorsing violence left, right, and center. During the fearsome rioting in Calcutta he gave his approval to men "using violence in a moral cause." How could he tell them that violence was wrong, he asked, "unless I demonstrate that nonviolence is more effective?" He blessed the Nawab of Maler Kotla when he gave orders to shoot ten Muslims for every Hindu killed in his state. He sang the praises of Subhas Chandra Bose, who, sponsored by first the Nazis and then the Japanese, organized in Singapore an Indian National Army with which he hoped to conquer India with Japanese support, establishing a totalitarian dictatorship. Meanwhile, after independence in 1947, the armies of the India that Gandhi had created immediately marched into battle, incorporating the state of Hyderabad by force and making war in Kashmir on secessionist Pakistan. When Gandhi was assassinated by a Hindu extremist in January 1948 he was honored by the new state with a vast military funeral--in my view by no means inapposite.
But it is not widely realized (nor will this film [Gandhi] tell you) how much violence was associated with Gandhi's so-called "nonviolent" movement from the very beginning. India's Nobel Prize-winning poet, Rabindranath Tagore, had sensed a strong current of nihilism in Gandhi almost from his first days, and as early as 1920 wrote of Gandhi's "fierce joy of annihilation," which Tagore feared would lead India into hideous orgies of devastation--which ultimately proved to be the case. Robert Payne has said that there was unquestionably an "unhealthy atmosphere" among many of Gandhi's fanatic followers, and that Gandhi's habit of going to the edge of violence and then suddenly retreating was fraught with danger. "In matters of conscience I am uncompromising," proclaimed Gandhi proudly. "Nobody can make me yield." The judgment of Tagore was categorical. Much as he might revere Gandhi as a holy man, he quite detested him as a politician and considered that his campaigns were almost always so close to violence that it was utterly disingenuous to call them nonviolent.
--The Gandhi Nobody Knows, Richard Grenier
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