The seminal event of the vivisection of the Indian subcontinent in 1947 continues to return to the big screen even after 79 years.
Every generation of filmmakers has offered its own interpretation of the Partition.
And why not?
The wounds it inflicted on both the bodies and minds of those whose lives were torn apart simply refuse to heal.
Marked by horrific killings and the displacement of millions on both sides of the Radcliffe Line, the story of Partition continues to haunt writers and filmmakers in India, Pakistan and Bangladesh.
The latest addition to this long tradition is Bollywood director Imtiaz Ali, currently basking in the critical acclaim for his latest release, Main Vaapas Aaunga (I Will Come Back).
Set against the backdrop of Partition, the film stars Naseeruddin Shah, Diljit Dosanjh, Sharvari and Vedang Raina.
Drawing inspiration from real-life accounts of people whose lives were upended by the redrawing of political boundaries, it explores themes of love, loss, memory, migration and belonging.
In India, the film opened to a modest box-office response despite receiving favourable reviews from critics.
Some reservations about the film’s two-hour-and-forty-six-minute runtime and the performances of a few cast members have largely been overshadowed by unanimous praise for veteran actor Naseeruddin Shah’s remarkable performance.
“The film belongs to Naseeruddin Shah, who proves why he is celebrated as one of the finest actors in Indian cinema. He is pitch-perfect in portraying Ishar’s delirium and sadness, delivering a powerful performance even when confined to a bed. Diljit Dosanjh matches his prowess as a commitment-phobic and unfocused young man,” wrote The Times of India.
The Indian Express observed that Imtiaz Ali is very clear about “where the film’s politics lies.”
According to the review, the film identifies the unresolved trauma and unhealed wounds passed down through generations as the root of many contemporary problems, while making the clear-eyed assertion that those problems cannot be blamed on any single community or religion.
At a time of deep political and social polarization, the review noted, that perspective comes as a breath of fresh air.
Main Vaapas Aaunga has also earned praise from Pakistani filmmaker Umar Nasir Ali, who wrote on Instagram that it “is a beautiful and deeply emotional film, one that stays with you long after it ends.”
He singled out Naseeruddin Shah’s performance, adding: “What stood out most was the extraordinary performance by Naseeruddin Shah, and the editing by Aarti Bajaj is a masterclass in cinematic storytelling, something every film student can learn from. Needless to say anything about AR Rahman.”
Perhaps Imtiaz Ali’s most powerful statement lies in the film’s title itself.
Main Vaapas Aaunga could well be read as a metaphor for Partition itself.
Like the memories it evokes, the subject refuses to disappear.
One can safely assume that this will not be the last film to revisit the Partition.
It will continue to return, again and again, as long as its scars remain embedded in the collective memory of the subcontinent.