Shikara movie review: Vidhu Vinod Chopra’s love Kashmir

Shikara is an account of adoration and mental fortitude. It causes you to have confidence in affection and that it is just love that can win war. Simultaneously, it makes you consider the reason for everything that occurred

January 19, 1990, was a dark night for all the Kashmiri Pandits who needed to escape their excellent homes in the Valley to carry on with the life of an evacuee in their own nation. 30 years after the mass migration of around 4 lakh Pandits, movie producer Vidhu Vinod Chopra, who needed to forsake his home in Kashmir, made a film to inform the world regarding the predicament of Kashmiri Pandits in Shikara.

In a political environment when Kashmiri Pandits are being utilized to spread despise, Chopra chose to recount to the narrative of affection. Shikara is awful, it will leave you contemplating how dead humankind is and how covetousness and disdain can demolish even paradise. In any case, it doesn’t make you despise a specific network. Shikara moves expectation and mental fortitude. It causes you to put stock in adoration and that it is just love that can win war. Simultaneously, it makes you consider the reason for everything that occurred and question, why?

Shiv Kumar Dhar (Aadil Khan) and Shanti (Sadia) have a place with the never-endingly idealistic parcel who figure they can defeat any circumstance with affection. They get hitched and start another life in their new home, Shikara. The public strain in Kashmir is ascending with Kashmiri Muslim young people taking up weapons to battle for their opportunity. Kashmiri Pandits are approached to leave the Valley with dangers of killings and impacts. However, the educated Kashmiri Pandit people group accepts that it will die down in the long run. A long time cruise by, and the brutality increments in the Valley and on January 19, 1990, they experience what they never figured they would.

With a huge number of other Kashmiri Pandits, Shiv and Shanti come to Jammu and start another life in a displaced person camp where they live in tents made of bedsheets, which then alumni to somewhat more grounded ones and afterward to a little quarter. Be that as it may, would they say they are grumbling? No. Shiv, who lost his sibling Naveen to the firearms, composes letters to the President of America illuminating him about the ruin brought about by their weapons.

Shikara has a few minutes when you can feel tears gushing in your eyes, here and there of satisfaction and the greater part of the hours of trouble. The sheer bliss with which Shanti peruses out the letter educating the acknowledgment regarding Shiv’s postulation for Phd and saying, “Stomach muscle aap tik-tik masterji nahi rahe. Stomach muscle aap educator saab ho gye hai,” makes you join the Dhars in the festival.

A scene where a gathering of Kashmiri Pandit kids are seen throwing public trademarks like, “Mandir vahi banaenge,” with cricket bats in their grasp shows how youthful personalities are influenced by what they see around them. In any case, at that point, how Shiv and Shanti turn the animosity of these children towards training so they can have a quiet future shows how the correct sort of control can help improve lives. Pioneer Nadru, who was driving the gathering of young men, turns into a neurosurgeon when he grows up.

While the story keeps you connected with, it turns into a tiny bit exhausting and unsurprising in the subsequent half. The chief has more spotlight on the romantic tale of Shiv and Shanti, which we comprehend is a conscious exertion, yet then many would gripe that it totally disregards the narrative of the opposite side. The screenplay, composed by Vidhu Vinod Chopra, Rahul Pandita and Abhijat Joshi, flawlessly consolidates genuine episodes and an anecdotal romantic tale. Rahul Pandita, who is an observer to the terrible mass migration, carried numerous accounts of his life to the big screen through Shikara. The scene where individuals in evacuee camp pursue a vehicle to get tomatoes conveyed by an ideological group is the thing that Rahul Pandita found before his eyes.

The newcomers Sadia and Aadil Khan look delightful together. While they are overwhelming as a youthful couple, they look somewhat clumsy in the scenes where they are appeared as more established individuals. Adil is increasingly great assuming the job of a more established Shiv Kumar Dhar. Sadia, then again, ought to be acknowledged for the conviction with which she assumes the job of an idealistic and strong spouse. Rest of the on-screen characters are genuine Kashmiri Pandits from Jammu.

AR Rahman’s music does enchantment to the film. With Sandesh Shandilya, the music maestro presents you the beautiful excellence of Kashmir in his music. Irshad Kamil’s verses give the correct help.

Vidhu Vinod Chopra’s Shikara is a film on the predicament of Kashmiri Pandits made with the perfect measure of reasonableness and empathy. While it contacts hearts in numerous parts, it likewise urges you to address if everything was unmistakably high contrast without any shades of dark. This romantic tale of expectation transports you to Chopra’s universe of sentiment we saw in films like 1942: A Love Story (1994) and Kareeb (1998). Be that as it may, at that point we have likewise observed movies like Haider and Maachis, which begin from a similar land. Shikara doesn’t dig profound into the opposite side of Kashmir, the manner in which we saw these two movies do. In that, it positively leaves you needing for additional.