Saquib Salim

When I told friends about my plan to watch Akshay Kumar's Bell Bottom, each one of them asked me not to. They believed, as usual, the movie would be full of jingoism where anti-Muslim sentiments would be passed on as nationalism. The fear was not baseless. Since Ghadar - Ek Prem Katha, patriotism is often confused with anti-Muslim sentiments in Bollywood. 

In most of the movies, we find bearded Muslims waging war against India in the name of Islam. Historical dramas like Panipat have also contributed their share in stereotyping Muslims. Movies like A Wednesday or Aamir, often celebrated as movies with ‘nationalist’ Muslim protagonists, have also invariably had a bearded Muslim character waging Jihad. In fact, in Aamir filmmakers have portrayed the whole Muslim population in Mumbai as conspirators in a bomb blast. Aamir, living abroad with a Hindu wife, is an alone Muslim who opposes the idea. 

So, when I entered the theatre, my expectations of seeing a clean movie were low. A movie based on an Indian Airlines’ Plane hijacking, seems like a perfect setting for portraying Muslims as the enemy within and a sure formula for a successful Bollywood flick. However, when I was leaving the theatre, I felt good. The movie did not confuse patriotism with stereotype images; it didn’t burden any community with being seen as treacherous by the others. The movie did not toe the line of any ideology. It portrayed humans as they are, common people who don’t always have to wear their religion on their sleeves.

Bell Bottom is loosely based upon the hijacking of an Indian Airlines Paeroplane by the Khalistani insurgents. Akshay Kumar plays Anshul Malhotra, a Research & Analysis Wing (RAW) agent with codename Bell Bottom and is a plane hijacking specialist. The movie opens with a plane hijacking scene succeeded by a meeting being chaired by Prime Minister Indira Gandhi. She is told the hijacking is the fifth such incident in seven years. RAW chief, played by Adil Hussain, introduces Bell Bottom to the PM as his man of crisis. 

The film shows hijackers as Khalistani separatists but nowhere they were shown as turbaned Sikhs raising religious slogans. Of course, they have Sikh names and speak Punjabi. Turbaned Sikhs are shown as RAW officers and holding other important posts. Again, these characters were not stereotyped. 

The movie also shows responsible political leadership. When a minister tells the PM that elections are approaching, hence negotiations rather than a military operation should be prioritized, the PM shots back, “Mujhe agle 100 saal ka road map chahiye, elections tak ka nahi.” Indira Gandhi is shown as a leader who would back any attempt to strengthen the nation.  

The film implicates the Inter-Services Intelligence (ISI) of Pakistan in these hijackings. ISI misguides Indian youth, trains them, and executes hijackings with their help. The movie shows Pakistani ISI officers, not as bearded Mullahs but western-bred officers who want to avenge the defeat of the 1971 war.

The movie steers clear of jingoism; It brings home the point that being patriotic does not mean trying to find an enemy within. By not blaming any Indian community or region it does not try to question their patriotism, a practice adopted by many filmmakers as a hit formula. 

The movie is a must-see for those who love unadulterated patriotism packed as entertainment.

Do watch the movie. With all its faults, the movie tries to start a new way of making patriotic cinema in India, which should be welcomed.