An effort to arouse superb nationalistic passions with tired clichés

Uri: The Surgical Strike is Bollywood's ultimate military drama. It has everything to please the predictable narrative of the Hindi cinema army – exaggerated heroes, good boys, scheming women, tired stereotypes and nationalist pride lost in the war. Uri is a 2-hour, 18-minute propaganda that tries to earn money by arousing strong nationalistic pbadions in an audience that has misconceptions about the war and believes it to be sacred, and in the clbadic Bollywood style, it does it with tired clichés.

The film, which relies on the attacks of 2016 in Uri and on the surgical strikes that were orchestrated by the Indian army in response, took the opportunity of to be truly human. But the film is a predictable and dull Bollywood-like tale, which tells the story of an exaggerated hero, with the aim of nurturing nationalistic feelings.

The film evokes the attack of the Uri base camp fairly quickly. Only three scenes are dedicated to him. The rest is to bleed the attackers at the hands of our tough hero. Major Vihaan Singh Shergill, played by Vicky Kaushal, wants to direct the surgical strikes at POK because his brother-in-law was martyred in Uri. The sturdy brother tries to avenge the sorrow of his sad, pregnant and pitiful sister – the clbadic Bollywood. The film does not deal with terrorism or war, nor the devastation it causes, it speaks of one man.

The women of Uri exist only to serve as intrigues. They have no real purpose. The three central female characters of Uri have little to do. Mansi Parekh, who plays the role of Vicky Kaushal's sister, exists only in the film, so her grief over the loss of her husband in Uri may exacerbate Kaushal's need for action.

The film does not deal with terrorism and war, and the ravages it causes, it speaks of one man.

Yami Gautam is a RAW agent. Pallavi Sharma does not do much – she exists to refer to a possible romantic relationship between her character and Kaushal. Kriti Kulhari plays an IAF officer and, at first, one would think that she is perhaps the only female member of the cast to play a real role to play, but we are disappointed. Kulhari's Seerat Kaur is enlisted by Kaushal's character to help with the surgical strikes, but in total, this FIA officer is in three strokes at most.

In most Bollywood films, the characters of Gautam and Kulhari would be beaten with a stick to make a character of a colleague / lover, but in Hindi cinema, the remarkable men do not attack widows.

Uri to create nationalistic feelings – which would eventually become incomes – resort to obsolete clichés and stereotypes. He adopts the "we, the pious and the needy" approach. Pakistani officials are described as incompetent individuals, limos, fools and apparently amateur detectives. On the other hand, we have extremely competent and fair Indian officials, remarkable men.

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In a scene featuring a Pakistani official at work, we see him constantly talking about his burns. Stomach, even during an official call. with whom is apparently a superior. In another shot, we see a top ranking official in golf failure. The asin and incompetent civil servant, whose incompetence translates into bad political decisions, is a common portrait of Pakistan in Bollywood – while Indian officials always have contact with the Midas because everything they touch turns into gold.

All of this contrasts with the release of Vicky Kaushal last year – Raazi in which he plays an officer of the Pakistani army. All Raazi did well, Uri was wrong. Raazi treated his characters with the same respect and humanity, without distinction of bad, nationality and loyalty. Raazi was raw, real and human, while Uri is problematic and ultimately sectarian.

We do not see Kaushal blowing people off the screen in retaliation. the true story of one of the most heavily militarized areas in the world, where lives are endangered every day and soldiers are pawns in a political conflict.

Uri seeks to earn money by playing on the air of fanaticism. The story of Uri is a loss and a conflict, but the film speaks of victory. The character of Kaushal, his courage and his desire for revenge are the only thing that matters in the film universe. The film does not care about the consequences of the Uri attacks Uri nor the cost of terrorism and political conflicts. .

The audience was delighted to see the attackers bleed, forgetting that we were also bleeding. When toxic nationalism is introduced into a theater while watching a film like Uri it can be easy to forget – there is no real winner of the war. The war leaves behind destruction, loss, sorrow and pain. The war is not sacred, but we often claim it. We advocate for wars and victories abroad, while conveniently forgetting the human cost of war, in terms of soldiers, civilians and all those left behind as a result of its destruction.

Watching Kaushal blow up people on the screen in retaliation, we do not see the true story of one of the most heavily militarized areas in the world, where lives are endangered every day and Soldiers are pawns in a political conflict. While staying in the comfort of our conflict-free realities, miles away, it can be easy to forget the cost we pay every day.

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When the Uri attacks took place in the beginning, many people insisted that the war prevents us from learning sacred, and these people went to the theaters with the same mistakes, and with joy to watch Pakistan bleed. The surgical strikes must have been a necessary military action, but as a people it is time to seek a solution instead of creating more conflicts. It's easy to celebrate the war when you're an audience, but the ball game is quite different when you're a war-wounded person.

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