Mumbai 26/11, Pakistan’s Prime Minister admits to the gains of creating terrorists and all the knots always get tied to the United States of America.
Reflecting this reality, walking the streets of New York, are the characters in the Yashraj Films, ‘New York’ directed by Kabir Khan. The power triangle is clear. The apex is held by the United States of America and its security agencies like the FBI. The other two opposing ends are held by the split schools of current day Islam, America’s enemy.
One school seeks to fight for its dignity with violence against United States of America for its unjust treatment towards them, while the other school seeks to clear the scars of the past, paving way for a new generation of Muslims.
The film is historically pegged in the 9/11 attack. This theme throws light into the current world situation with the increased American violence in the Middle East and the Muslim militants retaliating on one hand, and another section of the Muslims fighting to recover their lost identity on the other. The historical significance highlights the brutality of the FBI, giving the necessary background and making it pronounced.
This film shows three friends (Omar, Samir and Maya) juggling between the corners of this power triangle while the string to this dance is held by the FBI. Insecurity and hence an urge for power rules the plot on the surface of the triangle, while other emotions like love, loyalty and trust emerge at the sub-textual level.
The film concludes by putting an end to terrorism in its current avatar. However, it is the message sent that is most pertinent and appropriate to the world today. The message is resurgence with peace. The brilliance of the writer and the director is not in questioning terrorism but in questioning the reason that gives way to such terrorism – America’s brutal treatment.
With the death of Communism (USSR), many believe that the United States created the idea of terrorism. Also the American insecurity due to terrorism cannot be forgotten here while analyzing the American stand. A massive attack like the 9/11 left the almighty, all-powerful, invincible United States of America shaken with a reality check on its vulnerability. This sent out angry sparks amongst the government servants like the FBI to zero down the culprits, thus justifying the Marxian critical theory.
As genuine as their cause may be, the 1200 innocent suspects and the torturous means used on them cannot be completely ignored. This has been painted vividly through the images of the iron 6x6 box in which the suspects are locked up. The dog collar on the suspects and the officers urinating on the covered faces of the suspects leaves one disturbed.
The screenplay unveils itself as a consequence of one character’s reaction to the other. Structurally, the film follows the Indian structure with roots in the Indian folk tradition. This is the difference between 'New York' and a film like 'A Wednesday', which follows a straight Hollywood structure.
The characterizations and casting are against the popular norm. This decision to cast the more popular star for the antagonist's role leaves the audience with a level of shock. The decision to use an Indian FBI officer has also been logically reasoned out, and the audience is not baffled by an Indian FBI officer's presence on screen. Bollywood films are largely being shot in foreign countries. This film is probably the first to have a logical reason for its choice of an international location.
The use of music to enhance the images is relatively different from the traditional Bollywood way of using music. Music is an integral part of Indian films but the music sequences in this film have not been shot as dream sequences. They have been well integrated into the flow of the screenplay. Though the music strives to be different, there are other elements in the film which follow the old Bollywood School.
Using the prisoner’s voice in the scene at the hot dog vendor’s, where Samir is reminded of the brown bread, is jarring and clichéd, besides being typically Bollywood. The choice of shots, the angles and the pace maintained in the editing, especially in the FBI raid sequence, continues to classify this film as a Bollywood piece, even though it tries very hard to be different.
Though 'New York' is like a man stuck between the border lines of two countries at one time, the film leans more towards the international borders because of its universally recognizable theme. It is this theme that has made the film the first of its kind, making the world realize that there is still hope.
The paranoia of the Western world towards terrorism and classifying all Muslims as terrorists must change. And this film marks the beginning of that change. There is hope for peaceful co-existence. The world has fought colonialism and racism; now, we fight terrorism and continue to stop the omnipresent silent discriminations.
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