From Padosi to My Name is Khan: The Portrayal of Hindu–Muslim Relations in South Asian Films

Abstract

The portrayal of Hindu–Muslim relations in Hindi-language films has been a topic of discussion in several recent writings; for instance, in Chadha and Kavoori [2008], Hirji [2008], Ghuman [2006] and Rai [2003]. These articles mostly argue that Muslims in Hindi films are “exoticized, marginalized, and demonized and they are portrayed as the ‘other.’” To test this thesis I surveyed several films and found that Hindi films themselves are being stereotyped, based on their recent portrayal of Muslims. As an example, I will first examine an article by Booth [2004] which argues that Muslims were the political Other even in some older films. I will then compare Mishra's article [2002] with Lal [1998] in light of the film Khalnayak; and then, following Lal, I will provide my own analysis of some films that are woven around the relationship of Hindus with Muslims but have escaped the attention of film scholars. Although the recent upsurge in “cinepatriotism” and “Hinduness” in Hindi films is (rightly) criticized by scholars, in this article, I look at examples from several films to argue that secularism, embraced by films such as Padosi [1941] and Hum ek hain [1946], has been maintained by most Indian filmmakers. I discuss these films in four categories: India–Pakistan partition, Hindu–Muslim violence, Hindu–Muslim friendly relations, and films about modern Muslim communities. Although most of the films I discuss are Hindi ones I will also make brief references to Pakistani, Bengali-language and other South Asian films.