AT THE fateful session at Jaipur, minutes before Ashis Nandyâs unfortunately worded statement, fellow panelist Richard Sorabjee spoke about the limits of free speech and how hate speech is defined in India. âDeliberate maliceâ is the phrase he used, saying that only something that was deliberately intended to denigrate a person or community could justifiably be censored. Nandyâs comments clearly did not fall under this criterion, and if the same standard is applied to Kamal Haasanâs Vishwaroopam (released in Hindi as Vishwaroop), the recent protests against its release seem decidedly unjustified, silly even.
In V for Vendetta, when Evey Hammond finds that Stephen Fryâs character owns a Quran, she asks him whether he is a Muslim. âNo, Iâm in television,â he replies. That would be a better reading of Haasanâs film: by no means a slicker version of Innocence of Muslims, but a very commercial film where religion is incidental to a plot that simply aims to entertain, rather than make a sociological point. Haasan has said that this film is a tribute to Muslims, that they will send him a âlot of biriyani for Eid next yearâ. That is unlikely, and one suspects that such statements were made more as hyperbole than anything else. The protesters claim that the film is regressive because the terrorists are Muslim, while Haasan claims it is progressive because the RAW agent chasing them is also one. Neither is particularly valid; both have occurred in cinema before to mixed results.
The plot is fairly simple. Vishwanath (Haasan) is a Kathak dancer who is actually a RAW agent working to thwart a terrorist plot by a group he had earlier infiltrated in Afghanistan. Said plot involves exploding a dirty bomb, for which they have been stealing cesium from radiotherapy machines made by a company for which Vishwanathâs wife Nirupama (Kumar) works. The wife, of course, is clueless about her husbandâs secret life, which leads to some humour inspired by True Lies. Once everyone knows everything, the film is a fairly run-of-themill series of chase sequences, all of which rather cynically build up to a sequel, the horrendous trailer for which is shown at the end of the movie. Interspersed are flashbacks of Vishwanathâs years in Afghanistan, which by no means depict the terrorists as black-and-white bad guys, but people fighting for an ideal (with no judgement made on the validity of that ideal). Neither are they shown as overtly heroic. âFirst it was the British who came, then the Soviets, the Americans, and now the Taliban,â a woman tells them after an American raid on her village. âWhat are men but monkeys with tails in the front?â
On the contrary, if anyone comes out of this movie looking bad, it has to be the Americans. âWe fight for Allah, but the Americans fight for petrol,â says one terrorist. âIf you laid out barrels of petrol in front of them, they would bow down in namaaz.â Later, the FBI agents who arrest our heroes are shown to be typically racist, with much unfortunate humour drawn from their moronic statements. One interrogator, on finding out they worship Gods with four arms, comes up with this gem: âSo, how do you crucify him?â The events of the film take place after the killing of Osama (the terror plot involved is revenge), and Haasan and his RAW colleagues rather maturely condemn the euphoria among the Americans after the event, while acknowledging that it might be justified after the pain of 9/11.
When judged shorn of political blinkers, Vishwaroop is a fairly entertaining â if rather illogical â action thriller that, if anything, errs on the side of caution when it comes to Muslim sentiments.