Author: Omar Ahmed

AAKROSH / Cry of the Wounded [Dir. Govind Nihalani, 1980, India] – ‘I burn from within…’

In the dialogue-less opening to Aakrosh, Bhiku (Om Puri), the Adivasi labourer looks on in chains as the body of his dead wife (Smita Patil in a cameo) is cremated before he is led away by the police to jail. The pot marked face, protruding eyes, leathery skin of Bhiku amount to an image of […]

Genre, Iconography & Ideology: Imaginings of the Train in Indian Cinema – Part 6: Stardom and the Train – Shahrukh Khan

Two fathers, two lovers, and of course, a train. This is the ending to Dilwale Dulhania Le Jayenge (DDLJ) (1995), a ‘seminal text about diasporic representation and consumption of Indian popular culture’ (Mishra, 2002: 250). The choice of setting, a train station, is critical though, and so is the train that arrives to carry away […]