Independence Day 2019: Evolution of propaganda in Kohram and Bollywood
By the time you read this, Lata Mangeshkar was passing through the air in your area, and the speakers would play “Aye Mere Watan Ke Logan”, even as a pair of local traps that are powerless in the protocol puzzle.
Raising the inevitable flag (flying the flag) before the last segment stops traffic at Chowk.
For their television screens, at different points of the day, The Legend of Bhagat Singh, Border or even Rang De Basanti in these last few years (spreading chaos, apparently, A-OK correspondent, unless nationalism symbolizes) is in Fiery form of tortilla rap).
This is because August 15 is the day when television channels like to take out big weapons – cinema / national cinema, of which the above films are notable examples.
Among the important promotions of the group are Bollywood, such as the filmography of Gujarati and the Indian language director Mahul Kumar, who in the 1990s won three such titles (starring Nana Patikar) – Teranga (1992, Krantiver (1994), and Karum Opus, Koharam, which was released Exactly 20 years ago on Independence Day in 1999.
After adjusting for inflation, these films earned Rs 70, 120 and Rs 100 crore respectively at the box office.
Kohram, who starred both Nana Patikar and Amitabh Bachchan as superheroes, essentially represents Shekhar Prashar as a Bollywood actor.
If you take a closer look at what was happening in this boiling pot in the 1990s, you will understand the different mechanisms at Bollywood’s disposal.
The son of Genghis Khan
Kohram begins by telling you that the film is dedicated to the martyrs of Kargil – around August 1999, of course, we were only a month away in India and Pakistan call for the time of this particular conflict. Disclaimer (or Public Service Announcement), not only with time.
Heroes and villains are also clearly delineated. In the opening scene of the film, Colonel Balir Singh Sodhi (Bachchan) is making a failed assassination attempt against a great statesman, Verbhadra Singh, also known as Raja Sahib (Danny Denzongba), whom we later consider part of the cabinet. Colonel Sudhi died while being chased by the security forces.
There are now two reasons why this scene cannot be taken, despite the unintended horrific air of high intrigues, on the face of it – first, we know that Bachchan’s character cannot die early in this piece and second, around 1999 we knew that Bachchan’s character could not be A natural killer, or worse, a traitor, a traitor.
Ergo, Raja Saheb needs to be an evil man, absorbing corruption, rotten to hell – in other words, the standard pantomime for Mehul Kumar’s films was the evil politician (both Tricolor and Krantivir), by then, had set the tone).
In just the second scene, we got to know the other Big Bad – Gafoor Changezi (Mukesh Rishi) in the film, an unspecified terrorist cell leader, plotting a series of brutal attacks on Kashmir and the Indian mainland.
This scene should be subverted, even though Bollywood in the 1990s interfered with Exposure-A-Dialogue. Where do terrorists see themselves as “terrorists”, loud and repetitive?
Or, in fact, the supposed Kashmir-based terrorist wearing unique Arab headdresses …? Of course, this aims to spread the idea of a unified global “Islamic terrorism” to Kashmir – and at the same time, to spread the “Taliban” ie well-funded strangers (from Pakistan, Afghanistan etc.).
Take up arms against the Indian state (unlike the Kashmiri people themselves, who may be busy serving Rohvza in a foreign army that occupied its homeland a billion years ago)
The military commander, of course, was the character of “Changezi”, ie the descendant of Genghis or Genghis Khan, the Mongol predecessor, Darth Vader of the primitive mythology of Hindutva – with this simple act of naming, the terrifying Kumar of Islamic barbarism throughout Indian history draws a straight line.
Changez Khan Forget that the Mongols forget Islam, India forgets terrorism in Kashmir – it’s a simple, concise and friendly story for WhatsApp.
Oh, and if the relationship isn’t clear, Changezie ends the scene with a lively ad: “Shehnaon sur changaze khan’s aulad ko aul nahe lagte!” (“She hates the stifling voice of change!” “Shahnayes!”, After which his colleagues demolished dozens of people at a Hindu wedding.
Masked Face / Warrior Race
To fight the Mughal warriors, who is better than Rajput and Sikhs? Both appeared on the list of “warriors race” prepared by the British after 1857.
So we have Major Ajit Arya (Nana Battikar) declares, before killing a terrorist pleading for his life, “Rajput is not an enemy that kills” never spared). Their Sikh counterparts are, of course, dogmatic.
Balbir Singh Sodhi (Bachchan) and his supreme officer, General Bedi (Kabir Bedi, who here enjoyed much Punjabi lines).
As soon as he learned, the Rajput and Sikh warriors changed the ego. After the assassination of Raja Sahib, Colonel Sudhi escapes and suspects that Devender “Hatuda” (the Indian word for “hammer”) aka Dada Bhai, was filmed aloud and in the style of Robin.
Originally a hood-like figure of Uttar Pradesh – Bachchan undoubtedly wanders here in his original age. Meanwhile, Major Arya was assigned to bring Dada Bhai / Colonel. Justice for Sudhi.
He masquerades as a Bengali journalist – waiting for him – “BBC”, which I heard Basu Pandim Chandra Chattopadhyay (standing after Jyoti Basu and Benkim Chandra Chattopadhyay), and perhaps the two most famous of the Bengali Mahul Kumar, Surap Ganguly except, of course).
The BBC has long spoken non-stop while talking, and has “artificial” hand gestures that were seen by all Bollywood fans in the 1990s.
These cartoons are enlightening because they explain the global view of manufacturers. Someone Bengali, smart and shy.
Therefore, they are unfit for war or other masculine works, and are re-accused of art, which are considered only suitable for women – drawing or music or, in the case of the BBC, writing / photography.
The man from Uttar Pradesh or Bihar is high, and has no manners or manners (many grand brothers drink tea from a bowl, and even the BBC / Arya are watching in horror from Bhadralokis) a bird generally.
Ironically, in doing so, Mehul Kumar actually follows the logic of the colonists – where entire societies are transformed into a kind of authoritarian reductionism in the making of times. The British were, in the end, the people who reached the Bengali Doll Cup.
A living word
The villain politician in Denzongpa here, Raja Sahib, is a kind of universal figure whose aim is to keep 2 members of the Nehru Gandhi family in three parts and cut Jawaharlal Nehru and Indira Gandhi to facilitate our knowledge that he avenged the fake kidnapping of his daughter to pressure the Prime Minister to release four people Of change, including his brother.
We also know that this killed a military officer named Rathore (Jackie Shroff in a veil) followed by the blood of Colonel Sudhee.
The political pressure is being implemented by Raja Saab, the 30-member parliament, who may be separated from the narrow majority coalition if their daughter does not succeed.
We see the Prime Minister appealing to the spirit of Raja Sahib patriotism, noting that “you are from a wonderful family of freedom fighters” is a clear reference to Gandhi’s two rivers.
When his daughter finds out about the shepherd and threatens to expose him, Raja Sahib is called a dog-whistle for the conspiracy theory that killed Indira’s son Sanjay Gandhi.
Finally, Raja Saab is clearly portrayed as an incompetent woman surrounded by young women wearing casual clothes – these are the jewels of Jawaharlal Nehru from the Sang Long Campaign.