Shikara Movie Review & Full Movie,Story

 Cast: Adil Khan, Saadia
Director: Vidhu Vinod Chopra

It goes without saying that it is generally beyond the purview of mainstream Bollywood to fully understand and assimilate the many skeletons that constitute the old, unstable Kashmir rebellion. Therefore, it is not at all surprising that Shikara, intending to be an elephant for a lost paradise, falls short of his goal. It tells the story of Kashmir from the point of view of those who were forced to leave the valley in the late 1980s when the rebellion spread. Essentially, the film is limited in its scope. No matter how much balance the director Vidhu Vinod Chopra tries to make, it cannot be anything.


Shikara is a love story set against the backdrop of the exodus, but it floats in the shallow waters on a large scale and stays away from the molten vortexes which remain long turbulent in the valley. The film revolves around an idealistic couple who lose their home without any hatred and mistrust and rob their humanity. They are clinging to the hope of someday returning to the land of their birth, reflecting the yearning of not only the Kashmiri Pandits but all the victims of the conflict.

It would be appropriate to question Shikara's time. Kashmir, where a lot of action is scheduled, has been closed for the past several months and the rights of the people of the valley have been briefly closed. This underscores Chopra's credit that the Hindu-Muslim binary "based on true events" based on this fictional account is not manipulated to override the entire group with a single brush, although the film I There are some bad moments where it came to divide it and set the flow of us and the narrative.

To try to tread tightly, the script supports a wide range of means. We see grainy footage of Benazir Bhutto (on a black and white television set) addressing a rally and inspiring Kashmiris to fight for freedom. In another scene, news of an agreement between George Bush Sr. and Mikhail Gorbachev is shown on TV. One character, in reaction to another news, ridiculed the idea of ​​world peace. He blamed the Americans for pumping weapons into Afghanistan to help the Mujahideen fight Russia and then convert weapons to militants in Kashmir. Another says that politicians are not keen on a permanent solution in Kashmir, they all want them to win the election.

that's about it. Accusing external geopolitical forces and the rise of extremism against domestic leaders who insist on fishing in turbulent waters, Shikara ignores the local history of exploitation and repression in the 19th century. But then Chopra recognizes the extent of the two-hour film and does not claim that he is presenting the entire picture of Kashmir in the run-up and the subsequent exodus of pundits from the valley.


He explores the plight of a forcibly displaced community through a sieve of a tragic story lasting three decades. Shikara, whom the director wrote with journalist Rahul Pandita and screenwriter Abhijat Joshi, glosses over the grainy details and uses simple, broad strokes to trace the origins and manifestations of the Kashmir confrontation.

But in tracking the relationship between Shiv Kumar Dhar (Adil Khan), a poet and professor of literature, and Shanti Sapru (Saadia), who crashed as an impromptu extra during the shooting of a Hindi film in Kashmir. The 1980s. Love Blossom and, helped by Shiva's bosom pal Lateef Lone (Faisal Simon), marry before the end of the decade.

Within a year, the couple built a house, named Shanti Shikari as it was on a boat that the pair consumed their love after their wedding night. But his stay in the new residence is short-lived. Troubles arise for the Pandits and they are forced to flee.

The second part of Shikara is set in a refugee camp in Jammu, where the pain of displacement falls on everyone, young and old. The feeling of loss is overwhelming. An old pundit refugee cannot stop himself from arguing with anyone to take him to Kashmir: a snapshot of the psychological toll that took the turn of events to old refugees.


In one scene, in 1992, a young boy leads a group in shouting "Mandir wahi banzai", which reflects the changing political climate in the country and its impact on influential minds. Shiva stepped in and told the boy that a true leader does not split, but is united. At the core of Shikara is an attempt to exercise caution in the portrayal of an emotional, polarizing subject.