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'Operation Sindoor' film announcement sparks backlash, director issues apology: 'As a filmmaker, I was moved by...'
The announcement of a film based on Operation Sindoor, India's recent military strikes in Pakistan, has sparked a major controversy and backlash, prompting the director to issue an apology.
The film, titled 'Operation Sindoor', was announced on Friday night by director Uttam Maheshwari on social media. The project will be produced by Nicky Vicky Bhagnani Films and The Content Engineer.
The makers also shared a poster which featured a woman soldier wearing combat gear and holding a weapon. She is seen applying sindoor, the red vermillion worn by married Hindu women, to her hair parting. The scene is set in a battlefield with explosions, barbed wire, military tanks, and fighter jets. India carried out the targeted strikes on terror sites in Pakistan and Pakistan-occupied Kashmir early Wednesday under 'Operation Sindoor', two weeks after the massacre of 26 people, mostly tourists, in Jammu and Kashmir's Pahalgam.
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The announcement of the movie faced backlash, with many social media users criticising its timing. 'Sharam karo yaar, war is on. (Have some shame),' said one user. Another person wrote, ''Sindoor' or 'Operation Sindoor' should not be commercialised by corporations or the film industry (to make a movie in that title!) for profit. Legally, it may be allowed—but morally, it's wrong. Some things deserve respect, not a chance to cash in..'
'Stop embarrassing yourself and your country,' read one post. 'This is so inappropriate and uncalled for,' one user posted. One user criticised the film's team, saying that it should be boycotted. 'They can stoop to such levels of disgrace and disrespect for the nation and our armed forces soldiers' who are at the frontline sacrificing their sweat and blood. At this hour of crisis it Wasn't required at all!!!!' the post added.
Following the criticism, Maheshwari, whose past work as a filmmaker is not known, issued an apology on his Instagram Stories. 'My sincere apologies for recently announcing a film based on Operation Sindoor, inspired by the recent heroic efforts of our Indian Armed Forces. The intent was never to hurt or provoke anyone's sentiments.
'As a filmmaker, I was moved by the courage, sacrifice, and strength of our soldiers and leadership, and simply wished to bring this powerful story to light. This project was born out of deep respect and love for our nation and not for fame and monetisation,' he wrote. Maheshwari said he is aware that the timing of the movie may have caused 'discomfort or pain to some'.
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'For that, I deeply regret. This is not just a film, it's an emotion of the entire nation and a social image of the country globally,' he said, while thanking Prime Minister Narendra Modi. 'Our love and prayers will always be with the families of the martyrs as well as the Bravo warriors who are fighting on the border day and night to give us a new morning.
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(NOTE: This article was originally published in the India Today issue dated June 20, 2011)"As I begin to paint, hold the sky in your hands; as the stretch of my canvas is unknown to me."—M.F. Husain With the death of Maqbool Fida Husain in a London hospital on the morning of June 9, India has not only lost her most iconic contemporary artist but also perhaps one of the last living symbols of the very idea of her modern, secular and multicultural nationalism. Born in 1915 at the temple town of Pandharpur in Maharashtra, Husain came from a lower middle class Sulemani Muslim family and rose through the ranks to become India's most famous painter of people, places and a visual artist-especially a mid-20th century modernist painter-Husain was precariously perched on the crest of a nascent and evolving national consciousness. In the post-Partition era, when he first burst on the Indian art scene, Husain became a much celebrated symbol patronised by the Nehruvian state looking to create modernist role models. Yet, that very celebrity made him and his works vulnerable to be hijacked, misrepresented and reviled three decades later by a semi-literate cabal claiming to represent the collective voice of a largely silent Hindu majority. In fact, the torrid love affair between Husain and 'modern secular' India and their eventual dismaying disengagement makes for a civilisational sociologist Veena Das remarks, this "impossible love" had an inherent fragility because the idol, the image and the word are all strongly contested entities. It is also further complicated by the illicit intimacy between history and the 'perception of history' in post-colonial imaginations. The tantalising and tragic relationship-between a nation's notion of the self and Husain's visualisation of it in his art practice-became the vexed terrain over which competing political alignments fought their proxy wars for a good two decades before it eventually led to Husain's self-imposed exile from India in 2006. Four years later, he accepted Qatari nationality, spending his time between Dubai, London and Husain was educated in the streets of Indore, a madrassa in Baroda, the Indore School of Arts and very briefly the J.J. School of Arts, Mumbai. He was an immensely talented and intelligent man with an enormous curiosity about the world who learnt effortlessly from life and people. He arrived in what was then Bombay in the early 1930s, penniless but bursting with enthusiasm and energy, traits that he retained all through his first started out by walking the streets of Bombay offering to paint portraits of people who could afford to pay him Rs 25. There were not too many commissions but some of these early portraits still survive. In 2008 in London, I saw a portrait Husain had done of Lord Ghulam Noon's elder brother in a Bhendi Bazaar sweet shop. Soon, he moved to painting cinema hoardings, first for V. Shantaram's Prabhat Studios and later for New perched high on bamboo scaffolding, Husain learnt to be able to concentrate amid the noise and chaos of the street below. He used to paint 40 foot hoardings for four annas a foot under the blazing sun in Mumbai for many years. From painting hoardings, he progressed to designing toys and painting children's furniture for Rs 300 a month. "But even at that time I knew I would be an artist one day," he used to say, adding, "there was a time when I painted furniture by day and my own art by night. I painted non-stop." Cinema held a life-long fascination for Husain and decades later, he went on to make several much-talked about films. Of these Through the Eyes of a Painter (1967) won the Golden Bear at the Berlin Film Festival but the most well-known is Gaja Gamini (2000) that featured Madhuri Dixit as his muse. In 2004 he made the semi-autobiographical Meenaxi: A Tale of Three Cities with Tabu in the lead role which ran into trouble with Muslim life started to change radically around the time of Independence. Francis Newton Souza (1924-2002), the prodigious enfant terrible of Indian art, spotted Husain's talent by chance and immediately included him in his Progressive Artists Group (PAG) in 1947. Husain's work was noticed right from that first showing and with the encouragement of Rudi von Leyden, the German Jewish art critic, he held his first one-man show in Mumbai in 1950. With prices ranging from Rs 50 to Rs 300, the exhibition sold out. As Husain told me with a chuckle, "I was a best seller right from start."advertisementWhat differentiates Husain from his Progressive contemporaries is his deeply rooted 'Indianness' and his celebration of Indian life and people. While his contemporaries were busily assimilating European art from Byzantium downwards, Husain sought inspiration in temple sculptures (Mathura and Khajuraho), Pahari miniature paintings and Indian folk the mid-1950s Husain got national recognition with two very seminal canvases 'Zameen' and 'Between the Spider and the Lamp'. 'Zameen' was inspired by Bimal Roy's Do Bigha Zameen (1955) but instead of bemoaning rural poverty and indebtedness, it presents a symbolic celebration of life in rural India with a vibrancy that had never been seen before. "I realised one did not have to paint like Europeans to be modern," he maintained. Nor did he, at any time, understand the angst of existentialism."Alienation as a concept is alien to my nature," he would joke. 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Srivastava struck a deal for 124 Husain paintings for Rs 100 crore; not for love of art but as good investment. Indian art was appreciating at a higher rate than most stocks and brand Husain was now Husain Inc. After his emigration from India, Sheikha Mozah of Qatar was his last great all his fame and wealth, Husain was personally untouched by both. He could be as comfortable in a dhaba as in a five-star hotel relishing an expensive meal. He stopped wearing footwear as a tribute to the Hindi poet Gajanan Madhav Muktibodh in 1974 and he used to walk barefoot into the most exclusive and august gatherings as well as clubs the world epic saga is ever perfect. And Husain had more than his share of controversies and brickbats. However, it is in posterity that Husain's art and persona will get a truer reckoning. Perhaps the best tribute the Indian state could give would be to set up a museum devoted to the life and art of this most talented son of the to India Today Magazine
