May 8, 2012 07:28:04 PM IST Enkayaar, Glamsham Editorial
One of the salient features about ISHAQZAADE is that it is a romantic story with a twist. Indeed it would be for the first time that a love story of the youth and for the youth is a love story between a Hindu boy and a Muslim girl. As it is Hindi cinema has been rather conservative about using this genre as a subject matter of content, and one needs to congratulate Yash Raj Films for having chosen this subject.
Last time when Yash Raj Films had ventured into this arena it was through VEER-ZAARA and it is now more than a decade later that YRF has returned to the subject once again. However there is a twist in the love story of ISHAQZAADE, it is a love story situated in the Hindi heartland.
Indeed the earlier films which had the reference point of a Hindu Muslim love story, invariably were based around Punjab where the love that prospered had a backdrop of partition associated with it. In Punjab, as the Hindus and the Muslims lived together and shared lots of cultural affinities, it was quite natural for love to prosper.
Sometimes it also was a by-product of th e situation, as it was in TRAIN TO PAKISTAN, or in GADAR: EK PREM KATHA. In most of the films of such kinds, partition in one form or the other became the trigger point for love. It invariably was a helpless girl who got separated from her family and was saved by a Hindu who ultimately fell in love and married her.
In the recent times, a modern Hindu-Muslim love story was through BREAK KE BAAD starring Imran Khan and Deepika Padukone but it did not gain the kind of acceptance from the fans as was expected, though the songs of the film still continue to be a part of various dance compilations. Directed by Danish Aslam; it was his love story.
ISHAQZAADE from that perspective is a film that is quite different for one, that it does not have any baggage of partition associated with it as a trigger for love to unfold. Secondly, it is situated in the Hindi heartland, where the interface between these two cultures, and the youth of these two religions is not that frequent as it is in the case of such stories from Punjab.
But ISHAQZAADE should meet with success as a Muslim-Hindu love story, as this kind of experimentation, situating the content in modern India, was made by Mani Ratnam and it was a huge success, the film was BOMBAY.
While ISHAQZAADE may not be able to break the religious barriers and allow a Hindu boy and a Muslim girl to fall in love, at least it should be able to dispel some notions associated with this form of a love story, and if it happens, ISHAQZAADE would have attained its goal and objectives.