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Anatomy of a Scene: Haider #haider #vishalbharadwaj #irrfankhan #shahidkapoor #bollywood — Transcript

by Roohdar X · 2,974 words · 462 segments · language en · Watch on YouTube

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0:06Namaskar adabo and welcome to Rudar X.
0:10In this new series, I will explore what
0:12it means to look at cinema through
0:14critical lens, not only visually through
0:17its text and how certain scenes in films
0:20completely change the meaning of a scene
0:22and how we look at the scene and not and
0:25the film itself. In this episode, we'll
0:28take at the close look at the character
0:30of Rudar, famously played by
0:33Mahasenbower
0:35in a memorable appearance, taking few
0:37minutes of the screen time yet
0:39critically changing the course of the
0:42narrative of the film. This is anatomy
0:45of a scene.
0:47So what is Heather about and why do we
0:50re revisit it? Why has no Bollywood film
0:53ever done something on Kashmir like
0:56Heather ever again? Well, there are
0:59multiple reasons I can go on over on why
1:02continuously Bollywood continues to
1:05produce a certain perspective of the
1:07villainization of the Kashmir in
1:10particular the Kashmiri Muslim in its
1:12cinema especially when dealing with the
1:14topic of Kashmir. But in this episode I
1:17will particularly look at how Heler in
1:20particular through the character of
1:21Rudar in one particular scene completely
1:24changes the course and meaning of how we
1:27look at Kashmir itself.
1:30Now Karuda throughout the film is called
1:32through many monikers. He is sometimes
1:34called a Pakistani ISI agent, sometimes
1:36an informant, sometimes a militant. He
1:41what I like to look at is however he is
1:43the literal tortured soul. Rudar
1:47literally translating into soul. He is
1:50literal torch soul of Kashmiris itself.
1:54But what I would really like to draw
1:57attention towards is the scene in which
2:01both Udar and Heather's father Hilal
2:05upon the adaption of Hamlet in Kashmir
2:09as we know Heather in particular is f
2:12aiming at and this has been the
2:14objective of Bushal Badwas throughout
2:17his famous Hamlet trilogy from Abdul to
2:20Omara to Hamlet in Kashmir which is
2:24Heather itself. So when we draw
2:27attention to the torture cell scene,
2:29Heather is drawing us into a world of
2:32military occupation, imposed
2:33disappearances, revenge, family drama.
2:36There's a lot going on. Rutar emerges as
2:39a shadowy figure linked to his father's
2:42disappearance.
2:44He's now held in this dim,
2:46claustrophobic torture cell. As he
2:48narrates in a flashback, Gilal who is
2:50once now close to Rutar occupies a
2:55cell adjacent to him. It's a square
2:57shaped cell, a sense of claustrophobia,
3:00dim dim lighting. It is telling us that
3:04how both the body and the soul of the
3:07Kashmiri are captive. Not only Bilal
3:11bears marking of physical torture but
3:13even Rudar's literal face and the soul
3:17of the Kashmiri by translation or
3:20transliteration if you if I may is
3:22bearing marks of torture and suffering.
3:25So the scene is telling us way more
3:28already by its visual setting in itself.
3:32In its confrontation itself, we see this
3:36visual framing tells us how both are
3:39literally hanging upside down. Both have
3:42no ways to escape and how the body and
3:45the soul of the Kashmiri is entrapped in
3:48this cage of the conflict which has
3:51imposed on itself. The visual framing
3:54does not go a miss. The tortural cell of
3:57Rudar and Miral, we can see it's
4:00cramped. We can see how it has been
4:03tortured. It has been excruciated. And
4:07in this particular cell, what we notice
4:11is through the immobility, the dialogues
4:14exchange do not stop. It shows a sheer
4:18willingness to survive. The visual
4:20framings of these dialogues enforce this
4:24juosition between the body and the soul.
4:27And to understand why this matters, we
4:30must understand why Hamlet matters
4:33because after all that is the source
4:35material of Heather itself and the
4:38objective with which Vashal Bhadwatch
4:40makes this film. So to understand this
4:43we must visit the grand old daddy of
4:46daddy issues Freud. Sing Freud like many
4:51other epics read also Hamlet and had his
4:54own opinion on Hamlet. And when Freud
4:56reads Hamlet, he sees Hamlet and by
5:00extension Heather himself as a neurotic
5:03subject torn by an edible conflict. He
5:06cannot kill Claudius aka Kuram because
5:10Claudius or Kuram has done what Hamlet
5:13or Heather unconsciously desires. Remove
5:16the father, take the place with the
5:19mother. And in this scenario, the play
5:22is about a psychic drama. It is
5:25essentially Heather or Prince Hamlet
5:29trying to kill Kuram. But that objective
5:35faces obstacles. That objective faces
5:38always some sort of hesitation from
5:41Heather aka Hamlet because it's a son
5:45whose fathers has disappeared whose
5:47mother marries Kurum the Claudius
5:49figure. his delay, his rage, his
5:51torment, everything is not being
5:55translated into the murder of Kuram or
5:59Claudius itself. So for Floyd, Heather
6:05becomes nothing but a drama about
6:08Heather's repressed desire to kill the
6:12father and take place of the mother. a
6:14repressed desire because he reads it
6:17through an edible lens. So, Rudar in
6:20this sense will be reduced to some sort
6:22of symptom or some sort of uh double of
6:26Heather's internal psychic drama which
6:28is taking place. But in comes these two
6:32obscure French post structuralists
6:35authors and critics and philosophers
6:38Deio and Guari. These two uh JVO duo
6:44refused to align with the psychonomatic
6:47school of thought of Freud in general
6:49because they critiqued the edyple
6:52complex itself. They critiqued the idea
6:55of edipus complex as proposed by Freud
6:57because for them the unconscious or the
7:00psyche could not be reduced to just
7:02reading everything through the edible
7:04complex. They felt it was reductive.
7:07They felt it was a cage which imposed
7:10its structures on any sort of reading of
7:13subjectivity and the psyche of a person.
7:15So how would the loss in Guadari read
7:18Heather as opposed to what said? So for
7:22them Edypus is not the truth of Heather.
7:25He is not torn by a structure or
7:29conflict which essentially wants to cage
7:32them. He is not concerned with trying to
7:35find out and replace the father itself.
7:38It is not an edible drama. In fact,
7:41Edipus is a cage emus just like Kashmir
7:44is caught in an ediple triangle with uh
7:47India and Pakistan. It is pretty much
7:50how this edible drama not only cages
7:52Kashmir but is caging Heather himself.
7:55So it is not the question that what
7:58psychoanalysis asked through Freud that
8:01what does heather repress but rather
8:03what are the desires of heather what are
8:08the desires of heather through which can
8:11be understood through the mother through
8:13rudar the army the militants what are
8:16the codings the nation the family
8:19sovereignity and what are heather's
8:22lines of light and in this views there
8:25is No single ontological subject for
8:27Freud. It is clear the ontological
8:30subject is Heather and Heather is
8:32repressing the desire to kill his father
8:35and hence his hesitation to kill Kurum
8:38is is a continuous drama which plays out
8:41throughout the film. However, Dilus and
8:45Gutari would read Heather as a
8:48multiplicity subject. A subject who is
8:52who records different desires, different
8:55fields of flows, breaks and in their
8:58understanding what they called
8:59assemblages. Now, assemblages is
9:02essentially a multiplicity of social
9:04relations which any subject embodies.
9:07There is no single fixed identity then
9:10assigned to Heather. The Heather is no
9:12longer just a son or a family man. He
9:16occupies different different positions
9:18at different points of time. And this
9:22helps us contrast the two readings of
9:24Heather itself. The Freudian reading
9:28treats Hamlet as a neurotic subject or
9:31almost a hysteric subject toned by the
9:33by the edipple conflict. However,
9:36if applied to Heather, this would mean
9:39that whole film just revolves around a
9:42simple tale of revenge or rather the
9:46inability of Heather to take revenge
9:48because of this internal edible
9:50conflict. The news in Gutari or a
9:52schizoanalytical
9:54reading refuses this reduction. He they
9:57do not ask what head was headed press as
10:00I said they're asking a very different
10:02question itself and this question is
10:04answered in the scene of the tortured
10:06chamber with Rudar and Bilal in this
10:09very lengthy dialogue exchange the whole
10:13crucial question is opened up and a huge
10:17lines of flight and lines of escape of
10:20thinking of are opened up by Hilal's one
10:24crucial question he asks
10:29response.
10:35Haram be.
10:50Now within this dialogue itself you can
10:54see along with this visual framing what
10:57the loos and gadari would read analysis
10:59at and in particular these lines spoken
11:02by rudar what they are trying to say is
11:05that rudar is taking the position of the
11:09schizoid or an anti-edible position
11:13anti-edipus their magnum optus was
11:15essentially trying to target and
11:17critique this line of edible thinking
11:20which was conceptualized by Freud. So
11:23Freud will see just a neurosis or a
11:25hystericism at the heart of Heather.
11:28However, Rudar opens up the lines of
11:31flight. He is ceasing to make any fixed
11:35identity and connections to the idea of
11:37being Kashmiri. No longer is a Kashmiri
11:40just assigned and fixed or being a Shia,
11:43being a Sunni, being a pundit, being a
11:45Muslim. Well, Kashmiri is both inanimate
11:48and animate at the same time because
11:51Kashmir itself cannot be embodied by
11:54just the occupation of human beings
11:57living there itself but rather the
11:59multiplicity of social relations which
12:02it embodies the Chennar the chalam
12:05rivers the mountains the soil life and
12:08death cease to become opposing binaries
12:12in Rudar's reading for him there is
12:15multiplicity to becoming Kashmiri. One
12:18is always becoming Kashmiri. While there
12:20is always a being attached to historical
12:23time and period in which can situate the
12:26identity of a Kashmiri. However, a
12:28Kashmir's identity can never be fixed
12:31because they are always recording a
12:34multiplicity of desires on what the
12:37Luzen Gutari called the body without
12:40organs. Hence there is no impartial
12:43impartiality between living and
12:45non-living in Udar speech. There is no
12:48fixed coding. There are different lines
12:50of thoughts, different lines of escape.
12:52Mortality, immortalities are no longer
12:55binaries or segregated opposing
12:57thoughts. They are imminent to life. For
12:59Rudahar, he ceases to make these
13:02exclusive disjunctions between nature,
13:05between identity and mortality. For him
13:08nature is just one of the chains of
13:11production and which is forms the part
13:13of desire as a productive form of the
13:17very psyche itself. How desire produces
13:20an infinitude of identities that we
13:23assign ourselves at any given point and
13:26he records these disjunctions. He lays
13:29them down as delusaru would call. He
13:33lays them down uh these disjunctions as
13:36a network on the body without the organs
13:38and explodes the edible genealogy on the
13:42ungendered body. These non these
13:45composible distances are necessarily
13:47surveyed while the disjoint terms are
13:49all affirmed. Rudar is making these
13:52legitimate and imminent use of the
13:55disjunctive synthesis. One of the forms
13:58of synthesis which the psyche records
14:00according to Delus and Guari. He's not
14:02rambling. Please understand he's rather
14:04positively affirming life and death
14:07because in the midst of conflict the
14:09most tortured part of the Kashmiri
14:11identity was the very soul of the
14:13Kashmiri itself. Heather is this not not
14:16an unfixed ontological subject itself or
14:19rather Kashmir itself is not a fixed
14:22idea itself. Rudar refuses to fall into
14:25golden identities. He refuses to be
14:28territorialized
14:29as Dalus and Kutari put it to be fixed
14:32upon by a certain idea of an identity by
14:36society and by societal structures.
14:38Hilal wishes to know whether he's si but
14:41for Ruda this does not matter. He
14:44contrasts the so-called coding and
14:45territorialization of desire by freeing
14:48desire itself. He refuses this
14:51reduction. He insists asks what is this
14:53flow of desire? Am I just a nation? Am I
14:56just a family person? Am I just about
14:59territorialities? Huda embodies this
15:01schizoid position of flows and breaks.
15:04An assemblage of the Kashmiri self is
15:07visible and they're not just defiant.
15:09They jump different registers. The
15:11personal, the political, the poetic. It
15:15refuses the binary of who is a loyal
15:17Kashmir, who is a traitor. India versus
15:20Pakistan, the militant, who's the
15:22civilian, the Kashmiri who who's a
15:25collaborator and who's a freedom
15:27fighter. All categories are shattered.
15:30Rudar is not simply claiming to be a
15:33Kashmir. He performs Kashmiriness. He
15:35performs the becomingness of Kashmir. He
15:38refuses to be captured by the state even
15:40while he's caged in a torture cell.
15:44He wears the Kashmiri parent and the
15:47parent is stone a symbol symbolic of his
15:50being. Hence not negating his being but
15:53also not being caged by his very being
15:55itself. And hence his dialogue
15:58emphasizes
16:03>> because the Kashmir is always becoming
16:05he's always assuming fluid identifiers
16:07and identities fluid connections
16:09throughout the landscape the ecology the
16:11social relationships in which they are
16:13embedded in he speaks as a
16:14multiplicities. So the Kashmir is also
16:17the victim and the accuser the prophet
16:19and the informant and the poet and the
16:20militant. Just like Heather there is no
16:23stable identity. He Heather is also
16:25always in motion. It's a line of light
16:27he's always taking. The student, the
16:29lover, the loyal son, the son who don't
16:33talk to the father, the rebel. These are
16:36the different registers that the also
16:38occupies. And hence to deny both the
16:41imminent aspects of evil and so-called
16:44redeemable good in Kashmir itself is to
16:48also deny that there is a binary of good
16:51and evil which necessary always exist.
16:54Rudar is refusing this binary and
16:56through Rudar's speech we can say and
16:57through the visual framing of the scene
16:59itself this binary is being broken
17:02because after all if you have to think
17:03about the very history Kashmiris often
17:07themselves have been their own biggest
17:10tormentors itself. This scene in itself
17:14places all other aspects of the film
17:17neatly in one fixed congested arena. the
17:21military occupation by the Indian state,
17:23the human right abusers, the role of
17:26Pakistan as an instigator come so-called
17:30benevalent uh like figure once again an
17:34edipple triangle which is being created
17:36to cage the Kashmiri and this makes
17:39Heather a very unique Bollywood film on
17:41Kashmir in that it refuses to choose a
17:44side it refuses this binary it refuses
17:47also this binary which is drawn between
17:49revenge and justice in my Despite the
17:51whole spiel about revenge being the
17:54theme, I however read this as a reading
17:57of the skitsoid analysis of Kashmir
18:00itself. This is an analysis which was
18:02grounded in my own thesis and which
18:05makes this film incredibly interesting.
18:08A schizoanalytical reading shows that
18:11the Ruda's dialogues open a new field of
18:13flows, a new field of meanings are
18:17opened up rather making Heather as a
18:20tortured son as a center torn by the
18:22conflict is torn by the desire to marry
18:25the mother and to kill his uncle. A skid
18:27zone article reading would say that
18:30rather Kashmir itself is the ontological
18:33subject of this film because the
18:35Kashmiri is also the same person who is
18:38part of the Iwan is the same one
18:40complicit in army's violence. Same
18:42person abiding by the militants code and
18:45is also the one who has been
18:47disappeared, tortured and
18:49territorialized. The dialogues breaks
18:51these codes. They perform the action of
18:54becoming Kashmiri and they change the
18:56so-called truth of the film. Thus, the
19:00truth is not produced in Heather's quest
19:03for revenge. The truth is rather
19:05produced in Rudar's speech. And Rudar's
19:08speech emphasizes continuously this fact
19:11about the film. So perhaps for all those
19:14people who were disappeared and continue
19:16to remain disappeared, they too are part
19:19of this multiplicity. So to really
19:22conclude that fixed nature of identity
19:25being mediated through these codings of
19:28nationalism of Indian nationalism or
19:30Pakistani nationalism of the familial
19:33ties of religious ties are not what we
19:37need to necessarily surveil to
19:40understand what it means to be Kashmir
19:43and to become Kashmir because the
19:46becoming of Kashmiriness is always
19:48conditioning its being and the Kash
19:50Kashmiri often has to become different
19:52things to just survive and sometimes
19:56becomes different things dictated by
19:58their material circumstances. Sometimes
20:00the traitor, sometimes the survivor,
20:02sometimes the negotiator, sometimes the
20:04militant, the poet, the rebel, the
20:05informer. These are all Kashmiris. To
20:09escape the square shaped structures of
20:12the tortured cells and jails imposed by
20:15the nation states on the Kashmir soul to
20:17to impose the identities imposed by
20:20these nationalisms and
20:21territorializations
20:23and these edolizations
20:25of the nation states. We must understand
20:28the desire in itself is productive. The
20:31desire in itself is revolutionary. Hence
20:34the desire for azadi is not only aadi
20:38for territorial sovereignity but rather
20:41for the very soul itself. As a result we
20:44must understand the conflict is not just
20:45a binary which is what the nation states
20:48involved in this conflict would like us
20:50to understand but rather we must
20:53understand the film and heather and
20:55Kashmir and all its multiplicities and
20:58all its contradictions and all its
21:01flaws. The multiplicity in Heather is
21:04not only reflective in the scene with
21:07Rudar and then the character of Rudar
21:09itself but is also visible in the
21:11original script when you look at the
21:14ending which was intended. If we look at
21:16the original script of Heather which is
21:18available online and will be in the link
21:20below in the description you can see
21:21there were two other options which
21:23actually Vishal Bardwage did not go for.
21:26The first option after which Heather
21:28would walk a few steps and fall on the
21:29ground and the second one where Rutar
21:31would emerge from the smoke, smile, open
21:34his arms and Heather would fall into his
21:36but what we got was third ending which
21:38was completely different from the above.
21:41This once again demonstrates that
21:43multiplicity or the ryome character of
21:46Kashmir is evident in the film itself.
21:48Nothing is closeended. This is anatomy
21:51of a scene and thank you for watching.

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