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Under the auspices of The Indo-American Arts Council (IAAC), the movie Meherjaan had its US Premiere yesterday at the Tribeca Film Festival in New York.

The film is about loving the other even in the tensest of situations, where the ‘other’ is at war with another. However, the mov

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ie has been criticized by many as a slur on Bangladesh’s nationalist struggle against then West Pakistan, and that it attempts to justify war, killing and violence. On the contrary ‘Meherjaan’ attempts to offer an aesthetic solution to war and violence.

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Directed by Rubaiyat Hossain with a cast that included such luminaries as Jaya Bhaduri and Victor Banerjeethe setting is 1971 breakaway war of East Pakistan from the union with Pakistan. Against the backdrop of mass killings, rapes and pillages by the Pakistanis, Meher, a Bengali girl, falls in love with a soldier from the enemy side. The story evolves around Meher re-visiting the diary she maintained during the war, opened from her dusty wooden box after 38 years when a visitor shows up whom she cannot turn down.

Sarah, a war child, and daughter of Meher’s cousin Neehla, who was given away for adoption, has come back to piece together her past. Together, these two women re-tell history through their own stories in order to cut through the stigmas and walk into light. Meherjaan gives away with the adoption and has come back to piece together her past.

In 1971, I myself protesting the brutality of Pakistan army and with tremendous emotions, defected from a Pakistani Merchant Marine ship into a foreign country. Struggle for independence was a part of my life; however, the events moved so fast in last 40 years that, the movie brought back certain emotions. The movie allowed a human side of the story that seemed to have left a lasting impression in my mind.





The setting, the acting and the production is immaculate. Rubaiyat Hossain’s choice of actors couldn’t have been better. She chose Jaya Bhaduri and Victor Barerjee who are from my generation. They are Indian, and perhaps their personal experiences may not be the same as mine. What is revolutionary is Rubaiyat’s daring creation of a story with an actual American-Pakistani actor (Omar Rahim) and a mix of Indian and Bangladeshi actors depicting a love story behind all those gory pictures of death, blood and atrocities being shown on Bangladeshi televisions almost every day for the last 2 years.

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Both Omar and Rubaiyat were born after 1971. Omar recreating the role of Pakistani-Baluch soldier with Rubaiyat playing the double role of an actress as the aunt of Meherjaan while directing the movie. Bringing in a Baluch soldier defecting from the Pakistani army brings a little twist to the storyline.

They depict the younger generation who want to move on. The romantic tilt to the story is daring in that many in Bangladesh are still alive who hate the word Pakistan. For the victims and their survivors, enveloping the atrocities with a romantic story does not bode well.

“Meherjaan has insulted the spirit of the country’s liberation war and our history,” said four writers, including a woman who was raped by Pakistani troops, in a joint article in the Prothom Alo newspaper.

“Under the guise of a story about love and war, it’s a film about insult and deception,” they wrote.
Pakistani war crimes are a sensitive issue in Bangladesh, but public feeling has intensified since the current government set up the International War Crimes Tribunal in March last year.

The tribunal aims to try the local collaborators for crimes including genocide, arson, rape and looting. It has arrested five people, all of whom are also leading opposition figures, in the last six months.

The main opposition Bangladesh Nationalist Party (BNP) has dismissed the trial as politically motivated.
The government has not yet said whether the court will pursue cases against individual Pakistani soldiers, but private campaigners have provided the court with a list of 195 army officers accused of atrocities.

The film, because of its positive depiction of one particular Pakistani soldier, has been “unofficially banned”, Farzana Boby, an assistant director on the film, told AFP.

“It is unfortunate. All we have tried to do is to make a good film. It has been pulled down even though it was drawing bigger crowds than any other major hit film in Bangladesh,” she said.

The story has been perfectly depicted by the actors and the director which appears to be leading us to reconciliation with the past.

Is it possible? Are we ready yet to embark on this mission? Were there such stories of love and kindness as seen between these two peoples?

I lived in Pakistan during my school years in the sixty’s. After 40 years, when I went to my first school re-union in 2004 to Murree, Pakistan, I was full of emotions. I thrilled to return to the place that was close to my heart and was delighted to meet my old class mates. As if nothing had happened in between. I am a “friend” and “brother” to them. Could I reconcile the hatred I had for Pakistan then? Or should life go on?

Perhaps it is easier for me to write this piece than those who are direct victims of the torments of the rape and/or death.

International war crimes tribunal should have occurred a long time ago. However, the way the Tribunal has been set up and in the manner it is conducting its business many suspect its true intentions. It is widely thought to be a mechanism to witch hunt and thus politically motivated. Bangladesh population is mostly young who were born way after the war and I am not sure what their take on this issue is.

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It is time for people like us to make way for the younger generation and provide them a civil society amidst an uncivil state of affairs that has gone on for the last 40 years in the country. I am saddened that people have threatened “Meherjaan” from being screened in Bangladeshi theaters. We fought for independence from foreign dominion for centuries and now we should fight to create a civilized society where people could live peacefully with dignity and with full freedom to express themselves even if we do not always agree with other viewpoints. I am advocating for a tolerant society and not just a compliant mass.

A movie that is a class act by itself should be celebrated. The creativity of the young generations should be admired and we should let them race towards the peak faster. Those who gave their precious lives during our liberation war surely would like to see a Bangladesh thriving as a civilized nation.

At the conclusion of the movie at Tribeca Theater, Omar Rahim took on questions from an interviewer as well as from the audience. Being born after 1971 he was not aware of the atrocities that the Bangladeshis endured during the war. When he visited the Bangladesh Liberation museum in Dhaka before shooting of the movie, he was appalled that people of his nation did this barbaric act. The most effective way to make a predator regret its wrong-doings is not by condemning and hating him, but by making him understand the suffering his actions wrought. The former simply helps breeding and compounding mutual hatred.

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Rubaiyat’s choice of selecting a younger generation Pakistani actor to do the key role of the defecting Pakistani soldier and in the process, by exposing the actor to the records of war crimes committed by the Pakistani army on the Bengalis she has possibly done more to touch the sensitivities of the perpetrating side than one thousand tribunals and loud condemnations that our self-seeking politicians often do to demonstrate their twisted patriotism, will ever achieve.

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I salute Rubiyat for her bold and refreshing initiative.


Director: Rubaiyat Hossain
Writers: Rubaiyat Hossain, Ebadur Rahman (script collaborator)
Stars: Jaya Bhaduri, Victor Banerjee and Omar Rahim
Rubaiyat Hossain
Actress, Director, Writer
Rubaiyat Hossain is an interdisciplinary research scholar. She has attended Smith College to obtain her B. A. in Women Studies, M. A. in South Asian Studies from University of Pennsylvania, USA, and M. A. in Study of Religion (Islam) from SOAS (University of London), UK Rubaiyat Hossain’s MA Thesis ‘Heroic One or the Shamed one’ is in the process of publications.

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Omar Rahim

An alumnus of MacArthur Award-winning Susan Marshall and Company, Omar has performed internationally at venues including the Brooklyn Academy of Music, Jacob’s Pillow, the Joyce Theatre in New York and the Edinburgh Festival. His choreography has been presented at Dance Theater Workshop in New York, NY, at Wesleyan University and at the Bates Dance Festival in Lewiston, Maine. In 2002, Omar assisted Mary-Ann Kellogg, choreographer of the Hollywood film, the Guru, and had a cameo as the Indian Prince. Omar has choreographed dances for the prestigious stage and television Lux Style Awards shows in Karachi, Pakistan in 2002, 2003, and 2006. In 2008, Omar choreographed and featured in Saqib Malik’s acclaimed music video for Zeb and Haniya’s Aitebar and choreographed Bossy R, a music video for Sesame Workshop in New York with five-time Emmy-nominated Director Koyalee Chanda.

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Victor Banerjee

Victor Banerjee is a television and Bollywood actor. This Bengali Babu was born on 15 October 1946 in Calcutta, India. He was born to the renowned family of the first president of the Indian National Congress (1885), Womesh Chandra Bannerjee. After finishing his schooling from St. Edmund’s, Shillong he graduated from St. Xavier’s College in Calcutta, majoring in English Literature. Maya Banerjee is his wife. Dia and Keya are his daughters. Victor is a social activist and has spoken up for the rights of Garhwali farmers and for the state of Uttarakhand. He was also a candidate for Bharatiya Janata Party.

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Jaya Bhaduri-Bachchan

There are millions of questions one would want to ask Jaya Bhaduri-Bachchan, a name that brings to mind the image of a quintessential Bangali woman, clad in a sari, wearing her hair in a long plait and playing the role of a young wife in Abhiman (1973). It might also take one back to the days in the early 70s when the movie Guddi (1971) portrayed a young Jaya playing the role of a school girl infatuated with an actor played by Dharmendra. In person, however, this award-winning actor of Mumbai, India and also a politician is far from being the naive persona of many of her acting roles. The thousands of ideas waiting to burst out of her head to be shared with those around her deceive the silent serenity and composure on her face in front of strangers. Once triggered, however, Jaya Bhaduri-Bachchan (born in Jabalpur, Madhya Pradesh, in April 9, 1948) is full of stories, ideas, theories and little quips about her family members, friends and the people she works with.

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