|A loose updating of Shakespeare's Romeo & Juliet.|
Thankfully the narrative of the film doesn't suffer from the film of two halves syndrome plaguing so many Indian films of late - this means the first half is light hearted whereas the second half is dominated by heartache; I guess its the perfect emotional mix for the masala film genre. An interesting departure is the way the intermission is used. Many films use the intermission as a crossroads in terms of narrative and romantic films in particular use the intermission to convey a predictable dilemma facing the main protagonist - usually related to having fallen in love. Habib Faisal departs from such formulaic hyperbole by using the intermission to frame Parma's successful plan to marry Zoya and have intercourse with her, thus giving his family the edge in the election race. It is a bold and inventive use of the intermission and takes the material into an unfamiliar territory. The discovery of Parma and Zoya's secret marriage which was carried out by Parma as a way of exacting revenge on Zoya for her humiliation at college at first creates more hatred between the two families. However, once the families realise that their political reputation and domination could come to an end, they come together to eliminate Parma and Zoya. Such an alliance demonstrates a wider point about religious divisions and political power and the way the two interconnect and depend on one another in today's India. Rather than embrace Parma and Zoya's secular marriage, the families reactionary stance reveals a reactionary ideological perspective that promotes a culture of intolerance. What Parma and Zoya's union represents is the progressive face of middle class India in which the youth will have a decisive role to play in the erosion of such traditional and repressive values. Ultimately, Parma and Zoya's marriage poses a threat to the political power structure which is in place and it is political interests that must be protected, even at the expense of a premature youthful liberalism.
Similarly like recent films such as Ishqiya and Omkara, the city is nowhere to be seen and director Habib Faisal opts for a rural 'lawless' geographical landscape of old colleges, brothels, over sized family mansions and depilated railway carriages. It is a rustic terrain that seems fitting for the ancient rivalry that exists between the two families. Zoya is a feisty and spirited female character who seems trapped in such an overly male dominated world. When she tells her brothers that she has dreams of becoming a politician like her father they laugh, mocking her enthusiasm as foolishness. It is only when she is disgraced by Parma does Zoya realise that the value of honour is sadly more important than her happiness or even existence. Such a reactionary response from the two families yet again taps into the feudalistic mentality still prevalent in rural India. Yet it is a feudalism that wins votes and appeals to the traditional sentiments of the electoral. The film also seems to deconstruct the male arrogance of a youthful figure like Parma who is transformed from vicious, hot headed demagogue into a symbol of religious tolerance - any romantic notions of heroism are nowhere to be seen, replaced by an aberrant banditry. The turning point for Parma is the death of his mother who is executed by his uncle who heads the Chauhan family. From thereon Parma promises to uphold his mother's dying wish, to protect Zoya. Interestingly, the matriarchal figure yet again resurfaces in relation to the actions of the fallen male hero and this aspect seems to invoke the conventions of traditional Indian cinema from the 1950s onwards.
In terms of the ending, the film opts for a bloody shoot out which results in Parma and Zoya taking their own lives, thus adhering to the fatalism of Shakespeare's classic tale. In fact, it feels more like an ending inspired by films such as Thelma & Louise and Butch Cassidy and The Sundance Kid in which the main protagonists have no means of escape other than self destruction. In the case of Parma and Zoya, their rebelliousness threatens the norms of the feudal, sectarian world so they must be eliminated for the status quo to prevail. Ishaqzaade is a deceptive work, posing sophisticated and pertinent ideological arguments that are smuggled into the fabric of what appears to be a pedestrian boy meets girl love story. So perhaps we can conclude by saying in the words of Martin Scorsese that Habib Faisal is a director as smuggler, working in personal themes and social preoccupations into the fabric of his films. It seems like a perfectly sound argument why the mainstream can in fact be a perfect arena for testing out more unconventional ideas on a wide audience in the most deceptive of manners.