The movies presented in this list aren’t to be confused with biopics or biographies. If anything, they veer towards dramatised storylines that incorporate fictional characters and narratives, but still manage to remain rooted in reality. They utilise real-life historical events and tragedies which are anything but imagined, with many even placing emphasis on how history—more often than not—has a tendency to repeat itself.
*Movies do not appear in ranked order.
‘New York’ (2009)
The aptly-titled and highly under-appreciated “New York” explores the aftermath of the September 11 attacks on the World Trade Center (also known as 9/11). It examines the event through the lens of three young and starry-eyed Indian expat students and fast friends, Samir/Sam, Maya, and Omar. They lead peaceful lives in the Big Apple prior to the attacks, and who find their lives turned upside down following the tragedy that claimed countless lives.
The movie follows the trio as they navigate the ugly and rampant spree of hate crimes and racial profiling that erupt in the post 9/11 era, as well as its irreversible damage to their psyche, relationships, and their friendship(s).
‘Haider’ (2014)
Very few movies—such as the underrated “Yahaan” or the more recent but divisive “Kashmir Files”—have dared to delve into the conflict that rages on in the valley of Kashmir. “Haider” is one such work that has the chutzpah of exploring said territory and acting as a hard hitting, unbiased social commentary in the process.
It is furthermore an adaptation of “Hamlet” from the maestro of adapting the “Bard of Avon” to the big screen, Vishal Bharadwaj. What sets the movie apart from almost every other adaptation, however, is that under the façade of Shakespearean dialogue it painstakingly translates for Indian audiences, there lies a terrifying and grounded portrayal of the trials and tribulations of Kashmiri youth and locals who live in constant fear of tyrannical authority figures.
The titular character in this movie is a troubled, angst-ridden young man named Haider. He is plagued by his deteriorating psyche that is only exacerbated after false accusations of militancy are leveled against his missing father and the shocking discovery of his mother’s infidelity.
The movie also boasts of well-choreographed, highly energetic and intricate song and dance numbers to put forth its message/themes. Additionally, it features career-defining performances by Shahid Kapoor, Shraddha Kapoor, Kay Kay Menon, and Tabu, thus making it an engaging watch.
‘Jojo Rabbit’ (2019)
Equal parts rib tickling and equal parts ‘keep Kleenex handy,’ this loose adaptation of “Caging Skies” (a novel by Christine Leunens) earned Taika Waititi an Oscar for ‘Best Adapted Screenplay.’ “Jojo Rabbit” is set in Nazi-occupied Germany.
“Jojo Rabbit” is more a coming-of-age film for both the young minds and adults in it rather than a run-of-the-mill Hollywood-ized Holocaust movie. It centres around a young boy named Jojo, the son of a single mother who is patiently attempting to create a homely atmosphere for him despite the horrendous atmosphere that’s prevailing. This proves to be an arduous task for her since Jojo is preoccupied with idiolizing Hitler instead. He even envisions the dictator as an imaginary friend who is constantly urging him to further pursue his repulsive ideologies! However, a tryst with a stern young Jewish lass named Elsa who is on the run from the Nazis might just lead to the youngster finally growing up and out of this muddled mindset and force him to grow a conscience.
The hype for this movie was very real upon its release in 2019; but what truly attracted me to it in the first place were Waititi’s statements in the press about his ‘agenda’ behind making this movie. A Polynesian Jew himself, the filmmaker and actor was very vocal about his downright refusal to carry out any research about Hitler while penning the screenplay. This was in order to provide audiences with a rightful scathing picture of the monster of a man and—as the outspoken filmmaker and actor put it sardonically—in the hopes that the final product might cause the dictator to spin in his grave!
Jojo Rabbit Stands Out Amongst Holocaust Films
Waititi’s personal connection to the subject matter (Holocaust) is evident; and as a result, it enables “Jojo Rabbit” to stand out among other movies that utilise the Holocaust as a backdrop. Despite the vibrant larger-than-life visuals on display here, it never feels like a sugarcoating of the real-life tragedy either. The somewhat silly and quotable gags—as well as drypan humour—are but embellishments that help in elevating the satirical tone of the movie without overpowering the seriousness of the topic. They are also are a godsend in lending some good-natured light-heartedness.
Much like in his past and present independent works such as “Boy,” the short film “Tama Tū,” and “Hunt for the Wilderpeople,” Waititi yet again showcases an ability to depict war, loss of humanity, faux heroism/machismo or a misplaced sense of masculinity, grief, death and other ugly or trauma. The film induces themes through haunting and impactful visual storytelling, and via the innocent worldview of a child or a naive bystander/victim of circumstance.
I have to admit that my only issue with this must-watch movie is that certain scenes in its second half feel so unbearably heavy and heartbreaking to sit through that I still haven’t had the heart to rewatch it, even three years since first seeing it.
‘Phillauri’ (2017)
The timeline of this poignant, bittersweet take on arranged marriage and superstitions oscillates between the 19th and 21st centuries. Its storyline focuses on Shashi, a 19th Century ghost and her efforts to help a young man in the contemporary period overcome his pre-wedding jitters. This is while simultaneously coming to terms with the untimely demise of her lover Roop during a gruesome event in Indian history—The Jallianwala Bagh Massacre.
The film handles the incorporation of the Massacre in a sensitive fashion rather than merely utilising it as a throwaway plot point. It further adds a lot of depth to the characters of both Shashi and Roop and their timeless love story.
‘Billy Elliot’ (2000)
This movie—which later became a long-running stage musical—plays alongside the reign of late Prime Minister Margaret Thatcher (which may be a major tragedy in itself). It follows the titular protagonist, a young working class boy who stands to be the next big ballet prodigy.
Then-debutante Jamie Bell impresses with his acting chops and his pointe work. Most importantly, however, this coming-of-age story, much like “Jojo Rabbit,” serves as a rightful rebuke of a loathsome and reckless leader. It chronicles an unjust era in the history of Britain when minorities such as the LGBTQIA+ community (or anyone who even showed signs of ‘acting gay’ ) were viewed as easy targets It also shines a light on a major tragic event that shook the working class to its core, the UK Miners Strike of 1984-85. This led to fatal casualties, deaths, and injuries of innocent miners and union members.
‘Mississippi Masala’ (1991)
An early venture by one of my favourite filmmaker Mira Nair, “Mississippi Masala” features a young Denzel Washington in the lead. It was one of the few movies I watched in order to educate myself on the topic of racism in the States, especially in the wake of the George Floyd murder and the BLM protests that rang out in May of 2020.
The movie delivers a hard-hitting message of unity in diversity while addressing the racial discrimination that’s affronts not only one particular minority, but two: the Black community in Mississippi as well as the Indian immigrant community. It revolves around the lead interracial couple Demetrius, a Black man and his Indian lover Mina. They are determined to persevere despite the prejudice they face as a result of the colour of their skin—with Mina’s parents also displaying internalized prejudice towards Demetrius.
A flashback scene that further explains this internalized prejudice incorporates the displacement of Indian immigrants during brutal dictator Idi Amin’s regime in Africa. It features an intense scene wherein Sharmila Tagore’s character Kinnu (Mina’s mother) endures ridicule, harassment, and then robbery by a police officer at gunpoint in broad daylight.
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