Article 370 Movie Release Date, Reviews

Aditya Dhar, who directed the first film and produced the second, has drawn a clear distinction between the two, labeling the first as a “war drama” and the second as a “political” narrative. This differentiation is crucial, particularly considering the inherently political nature of Article 370 and its entanglement within the complex web of politics it serves.

Interweaving factual elements with fictional portrayals and selective truths, Article 370 delves into a narrative that aligns with the right-wing perspective on Jawaharlal Nehru’s actions in Kashmir and Maharaja Hari Singh’s alleged proclivity toward India. The film presents the government’s decision to revoke Jammu and Kashmir’s special status as a calculated move in the realm of statecraft, even if it means navigating around constitutional obligations.

The storyline unfolds against a backdrop where dedicated soldiers, diligent intelligence operatives, and diligent bureaucrats stand in contrast to self-serving Kashmiri politicians, indoctrinated militants, and purportedly incentivized stone-pelters. Islamabad is depicted as a distant force unable to counter the cunning maneuvers of Delhi.

As the plot progresses toward the climactic event of August 5, 2019, when Article 370 is abrogated, the film rehabilitates contentious figures like former Jammu and Kashmir governor Jagmohan, rationalizes controversial incidents such as the human shield episode involving a civilian, and glorifies demonetization as a means to disrupt militant financing.

The film’s professional execution is evident throughout, echoing the polished production of its predecessor, “Uri,” with captivating action sequences, nuanced dialogue, and compelling performances. Yami Gautam, portraying an intelligence operative and Kashmiri Pandit, shoulders the narrative’s emotional and professional weight alongside Priyamani, who embodies a senior bureaucrat in the Prime Minister’s Office.

The pacing builds tension as the story races toward the climax, unfolding a simultaneous narrative in Srinagar and Delhi. However, despite its cinematic prowess, Article 370 presents a singular perspective on a multifaceted issue, from the Burhan Wani encounter to the Pulwama attack, leaving little room for alternative viewpoints or shades of gray.

The ordinary Kashmiri finds a voice through a lone elderly character disillusioned with existing leadership and disheartened by the youth’s susceptibility to militant influences. However, the film largely overlooks perspectives from Jammu and Ladakh, which are integral parts of the Kashmir puzzle.

Politicians from Jammu and Kashmir are caricatured, with Mehbooba Mufti and Farooq Abdullah portrayed unflatteringly. Even Ghulam Nabi Azad, despite his prominent role in the Rajya Sabha debate, is depicted through a new lens devoid of his Muslim or Jammu and Kashmiri identity.

Khawar Ali, the local Intelligence Department chief, emerges as the film’s only character with layers of complexity, operating within a morally ambiguous realm amidst a narrative dominated by stark contrasts.

Yami’s character delivers a passionate monologue linking terrorism to financial interests, attributing societal ills, from the marginalization of Scheduled Castes to the exodus of Kashmiri Pandits, to the existence of Article 370. The applause within the film reflects the purported endorsement of its message by the government.