‘Article 370’ film review: Yami Gautam directs this exposition on the government’s Kashmir policy.

Filmmakers have started their fair share of canvassing as audiences are getting more and more excited about the election season. First out of the gate is Article 370, which is a compelling sarkari explanation on the government’s Kashmir policy. This explanation was the driving force behind the constitutional provision that was deemed to be problematic being repealed on August 5, 2019.

Despite the fact that these are recent occurrences that are still fresh in the minds of the general public, the objective of the producers appears to be to instill confidence in the audience regarding the factors that led to the termination of Jammu and Kashmir’s special status before to the elections for the ruling party. On account of the fact that the decision’s long-term effects have not yet been determined, the movie is in a hurry to portray it as a brilliant move.

Director Aditya Suhas Jambhale does an excellent job of connecting the connections that are frequently overlooked in the cacophony of debates on electronic news channels. His work is reminiscent of a sophisticated PowerPoint presentation that is accompanied by a thundering background score. In my opinion, the timing of the release does not appear to be a coincidence. Uri (2019), directed by Aditya Dhar, did an excellent job of dramatizing the background of the surgical strike that was carried out against Pakistan in response to the Uri incident in 2016.

Another film that was released during an election year was that one. Yami Gautam, who is also an accomplished actor, is Dhar’s better half and heads the team here as the intelligence officer Zooni Haksar. Dhar is a co-producer and co-writer of the film Article 370. Because Zooni is a Kashmiri Pandit who harbors a personal grudge against the corrupt political leadership of the state, he is in a strategic position to promote the narrative of “us versus them.”

In order to conform to the political narrative that has been established by the reigning regime, the writers use these historical occurrences. The video does not discuss the lessons that can be learned from the coalition government that the Bharatiya Janata Party formed with the Jammu and Kashmir People’s Democratic Party. However, it does acknowledge that Jawaharlal Nehru’s arrangement with Sheikh Abdullah was problematic.

Despite the fact that Uri had the authority to be jingoistic, Jambhale is able to avoid exaggerating the tone of his tone because the subject matter calls for a little more nuance. In a deft way, the movie weaves into the story how back-channel diplomacy has become obsolete, and how the tried-and-true tactics of bargaining with separatists and double agents in order to buy temporary calm in the Valley have grown out of date.

The most essential aspect is that it discusses the business of terrorism and the economy of conflict in order to show the moral ambiguity that exists within the separatist movement and the political leadership of the local community. Despite the fact that there is no attempt made to see Delhi’s part in this matrix, the realistic approach to looking at the situation is effective and gives the story more weight.

The video, however, reveals a great deal about their former pals in Delhi in an effort to demonise the leadership of the Kashmiri people. For those who are willing to look, it appears as though the current administration has made the decision to prioritize constitutional morality over constitutional technicalities when it comes to the Kashmir issue. In addition, that violation of human rights is a possibility for its military personnel. In a crucial scenario that takes place after the encounter with Burhan Wani, Zooni is asked by her senior officer what she could have done differently.

She responds by saying that she would not have returned the body of an alleged terrorist to the family, and she demonstrates that she is capable of doing so towards the conclusion of the moment. There is a question that arises in our minds regarding whether or not the land is more significant than the people. When compared to a film that portrays Kashmir as an essential part of India, which invests very little in showing Kashmiris as people with flesh and blood, all of the discussion about offering reservation to scheduled castes and tribes sounds hollow. Individuals who are portrayed as opportunistic parasites and for whom the number 370 was a literal article of faith are shown.

Raj Zutshi, a seasoned performer, portrays a political figure that appears to be a combination of Farooq and Omar Abdullah, with a flare of the devilish. In a similar manner, the ever-dependable Divya Seth transforms Mehbooba Mufti into a subdued and manipulative monster. The character of the Prime Minister, on the other hand, is enhanced with grace and gravitas by Arun Govil, who is making a significant comeback. In her role as Home Minister, Kiran Karmarkar provides a response to the claptrap theatrics that Zutshi has been doing.

Those who are responsible for spreading the official narrative frequently express their disappointment that the ecology has not changed despite the changes in power. At this stage, the creators have made an effort to demonstrate their point by employing the strategies of the so-called “system.” The concept of two women who are able to keep their feelings under control and lead the charge is unique and intriguing. Furthermore, Yami and Priyamani, in their capacity as the resolute deputy secretary in the Prime Minister’s Office, regularly deliver the goods.

In particular, Yami internalizes a fiery character who is striving to defend her purpose from a process that is not giving the results that were intended for it to achieve. The proceedings, however, grow increasingly basic and reminiscent of the one-man armies that used to litter the Bollywood landscape after a certain point in the film, when the picture is reduced to just a two-woman act. It would appear that the creators are attempting to circumvent the democratic ethos even in the parts that are dramatized.

In 2022, director Vivek Agnihotri hit a nerve when he released The Kashmir Files, a film that focused on the 1990 migration of Kashmiri Hindus and painted the events leading up to it as a genocide, a storyline that many saw as provocative and propaganda. The film also featured its protagonist urging the revocation of Article 370, but it never got into the nitty-gritty of what that meant or how it would affect the lives of people in Jammu and Kashmir. Two years later, Aditya Suhas Jambhale directs Article 370, an earnest attempt to demonstrate the intricacies of events that led to the nullification of Article 370, which provided the state of Jammu and Kashmir unique status and has been a source of contention since 1947.

Yami Gautam and Priyamani play the two forces pushing this powerful narrative, and the film informs, educates, and keeps you committed for the most part. For anyone who is vaguely aware of what Article 370 stands for, its existence and abrogation, but has never taken the time to understand its significance or relevance, this 2 hour 30 minute film is nothing short of an impactfully narrated chapter that delves deeper into the complexities of politics and, in a much simpler manner, presents an engaging watch for the average viewer to understand.

Is Article 370 an extension of the Kashmir Files? Yes, to some extent, but through a totally different lens and perspective, a refreshing one at that. The film never resorts to a jingoistic plot or even subtle connotations, nor does it attempt to enter the propaganda zone. It adheres to telling events as they happened, supported by rigorous and great research, and that’s where it really shines.

Article 370 not only summarizes the events, but also describes them in depth to demonstrate how the current government was influenced by the uncontrollable violence in Kashmir to repeal J&K’s unique status. I loved how the creators didn’t rely on patriotic tropes to make an impact, instead choosing a hard-hitting storyline to communicate an informative story. The film, written by Aditya Dhar and Monal Thaakar, lets its tale to be the hero for the whole runtime, despite some spectacular performances that steal the show throughout.

Article 370

The video begins in 1947, with sepia-tone graphics and Ajay Devgn’s voiceover outlining how a portion of Kashmir was transferred to Pakistan and how Article 370 came to be. The political action thriller then shifts to 2016, when, following Kashmir unrest, a local agent and Intelligence Field Officer Zooni Haksar (Yami Gautam Dhar) is secretly recruited by PMO Secretary Rajeshwari (Priyamani Swaminathan) to lead the National Investigation Agency (NIA) operation in Kashmir, uncover the conflict economy, fight separatists and corrupt officers, and curb the terror situation, months before Article 370 is suspended.

The first half is a gradual burn that builds pace to establish the concept, with the awful Pulwama incident serving as a contemplative intermission. With a more focused approach in the second half, the picture becomes faster-paced and more cohesive, building to a satisfying finale that lasts an intense thirty minutes. Some of the words may sound familiar from other films about Kashmir, yet there are several scenes with powerful lines that will make you applaud. The impactful writing is complemented by a fluid script (by Aditya Dhar, Aditya Suhas Jambhale, Arjun Dhawan, and Monal Thaakar) that does not cut back and forth, allowing important events leading up to the repeal of Article 370 to unfold with the desired impact.

The film’s screenplay is divided into various chapters, such as The Lover of the Tral, Blindspot, Save the Date, Sub-clause (d), and Was, Is, and Always Will Be, which simplifies the plot and eliminates any loose ends. Congratulations to Shivkumar V. Panicker’s editing, who paid close care to connecting the sections together such that they construct a story generating a sense of nationalism and emotions.

Though the majority of Article 370 is inspired by true events, one cannot ignore the creative liberties that the creators have taken, which are often too obvious for a viewer to overlook. For example, the overdramatic action sequences with Yami and her coworker surviving a grenade strike without being seriously injured, or the NIA examining suspects behind closed doors.

 

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