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"Ye Gandhi aur Nehru ka desh hai."
"Shastri ka kyun nahi?"
Vivek Agnihotri's film The Tashkent Records are not just about asking relevant questions on India. The mysterious death of the second Prime Minister Lal Bahadur Shastri in Tashkent, in the former USSR, in January 1966 icy, but it is also an attempt to give him a more prominent place in the history of the & # histoire. India.
The film details the details of what we know – and what we do not know – about what happened with Shastri in Tashkent about six hours after the signing of a peace treaty with Pakistani President Ayub Khan, Agnihotri keeps reminding his viewers that the war between India and Pakistan of 1965 was under Shastri. It forces you to wonder why, in a country where Indira Gandhi was dubbed "Durga" for leading India to victory against Pakistan in 1971, Shastri's feat goes largely unnoticed – and immensely popular? Why, in a country where muscular nationalism is an election issue, diminutive Shastri is not revered as a hero? Between Nehru and Indira, how did Shastri disappear as a leader without consequence?
The film does not say who (or what) killed Shastri. But this raises some key questions. (Photo: Twitter)
Indian prime minister died on foreign soil – and the country denied his family an autopsy with acting Prime Minister, Gulzarilal Nanda, pretending as a result of ignorance about Shastri's family approaching the demand.
Shastri's family reportedly reported cuts to his body with blood flowing from his wounds. Seeing blue spots on the body of the last PM, her mother would have shouted, "Mother bitwa ko jahar de diya (my son was poisoned)."
But Shastri's body was delivered to the flames without even an attempt
Agnihotri tries to show how easy it has been to erase Shastri from public memory since then – with every person – politicians, social activists and even historians – mingling the line of a "convenient truth" ". It attempts to spell out conspiracy theories about the unacknowledged reasons for "overthrowing Shastri" by referring to statements made by KGB spies.
In his attempt to shake the audience of his death and to emphasize his contributions to India, Agnihotri lets his characters scream and scream from time to time – that is the greatest weakness of his film.
Agnihotri shows how much we are caught in a world of truths, eclipsed by post-truths. . (Photo: Twitter)
The impact needs to be created here with powerful dialogues, not screaming in the ears of your audience. The plot is striking enough that the public remains alert and takes note of what it ignored – or was forced to ignore, through a "project sponsored by the "State", as Agnihotri would have us believe.
Quite like Buddha in a traffic jam, Agnihotri in The Tashkent Records are also trying to create a catastrophic scenario in which every soul is sold and where we do not know how we are used and manipulated by supporters of the ideologies we follow. Agnihotri, the promoters themselves are used. In trying to unravel this web of ideology, personal greed and human ambition, Agnihotri eventually distracts the viewer from the central question: what happened to Shastri? – Try to explain how we are immersed in a world of truths, eclipsed by post-truths.
There is a dramatization and an over-dramatization of events, which filmmakers warn you in their disclaimers. The film does not say who (or what) killed Shastri; by dropping crucial clues, it simply tells you how India has erased the contributions of one of its greatest sons.
Read also: The trailer of "Tashkent Files": Who will have a "dead PM" now? ?
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