Bollywood’s Omission of Kashmiri Pandits: A Gender and Religious Perspective

The world of Indian cinema, particularly Bollywood, has a significant influence on shaping public perception. However, a critical analysis of the film industry reveals a striking omission: the portrayal of Kashmiri Pandits, leading to an imbalance in the narrative of conflict and its aftermath in the Kashmir Valley.

Why Most Bollywood Directors Make Movies from the Perspective of Muslim Victims

The majority of Bollywood films that touch upon the Kashmir conflict predominantly focus on Muslim victims. This phenomenon is not purely unintentional but is influenced by several factors, including financial reasons and societal acceptance.

Firstly, it is financially viable for directors to make movies that resonate with the majority and draw substantial audiences. Making 95% of the Kashmiri Muslim population angry puts less financial risk compared to alienating a smaller and potentially marginalized group. This decision is a reflection of the broader societal composition and demographic.

Secondly, the resilience and forgiveness of Hindu communities play a role. Films like Pie (PK) and Housefull were well-received despite some contentious elements, indicating that Hindu audiences are more likely to accept diverse narratives without feeling deeply offended.

Social and Political Considerations

Several social and political factors are at play. Directors, particularly from Kashmir, often partner with journalists or writers from the Muslim community. This collaboration leads to a perspective that might be more aligned with Muslim victims, as seen in films like Haider. Moreover, there is a deep-seated gratitude among Kashmiri Muslims towards prominent Hindu figures who have supported the Kashmir movement, as evidenced by the dedication of the National Award by Mr. Vishal Bhardwaj to Kashmiri Pandits, suggesting a mix of guilt and a sense of shared history.

Another important factor is the dwindling number of Kashmiri Pandits in the Kashmir Valley. With a population of around 800 barely surviving, it has become increasingly harder for directors to ignore them. Permission for filming often requires cooperation with the local Muslim diaspora, and disrupting their support could jeopardize the filmmakers' work.

Furthermore, major filmmakers are often engrossed in other successful projects. For instance, Mr. Karan Johar is currently busy with 3 Idiots and PK. Even when he did make Mission Kashmir, it did not delve into the unique plight of Kashmiri Pandits, indicating a broader trend of omission.

Lastly, the lack of support from the general public, including nonprofits and the intellectual class, makes it challenging for directors to revisit these stories. Without funding, film projects tend to prioritize narratives that garner more audience support.

In conclusion, the underrepresentation of Kashmiri Pandits in Bollywood films is a complex issue intertwined with financial, social, and political factors. This imbalance not only distortion the historical narrative but also ignores the realities faced by a specific community. It is imperative for the film industry to address these disparities and provide a more balanced and comprehensive narrative of the Kashmir conflict.