The return of Pakistani actor Fawad Khan to Bollywood with the film Abir Gulal has once again ignited debates about cultural exchanges between India and Pakistan. While cinema has often been hailed as a bridge between nations, the reality of Indo-Pak relations tells a different story—one marred by terrorism, hostility, and bloodshed. The question that arises is: when India has already severed cricketing ties with Pakistan due to continuous acts of terrorism and public sentiment is largely against any engagement, how does Bollywood justify casting a Pakistani actor in a lead role?
The Precedent Set by Cricket and Other Spheres
Cricket, once considered a unifying force between the two nations, has not seen a bilateral series since 2012. This decision was driven by Pakistan’s persistent support for cross-border terrorism. The same concerns led to a ban on Pakistani artists in Bollywood post the 2016 Uri attack, an attack that claimed the lives of Indian soldiers. If a sport as revered as cricket was halted due to national security concerns and public sentiment, why should Bollywood, a significant part of India's cultural identity, be any different?
The Sentiment of the Indian Public
India has witnessed some of the most heinous terror attacks, from the 2008 Mumbai attacks to the Pulwama tragedy of 2019, all traced back to terror outfits operating from Pakistan. The pain and loss endured by Indian families due to state-sponsored terrorism cannot be ignored. When the blood of innocent Indians has been shed due to Pakistan-backed violence, it is natural for the public to oppose any form of collaboration that gives a platform to Pakistani celebrities. The outcry against Fawad Khan’s return is not mere jingoism; it is a rightful demand for cultural solidarity and respect for national sacrifices.
Bollywood’s Misplaced Priorities
Several industry veterans and political bodies have voiced their opposition to the return of Pakistani artists, emphasizing that art cannot be separated from the larger geopolitical realities. Organizations like the Federation of Western India Cine Employees and Maharashtra Navnirman Sena have been vocal in resisting this move. Major Gaurav Arya, a retired army officer, aptly pointed out the hypocrisy of engaging with Pakistani actors while Indian soldiers continue to battle terrorism emanating from across the border.
Furthermore, it is essential to question the Bollywood elite who champion such collaborations under the guise of artistic freedom. Would the same industry be as welcoming if the roles were reversed? Would Pakistan, a nation that has historically banned Indian films, reciprocate with the same enthusiasm? The answer is clear.
The Need for a Unified Stand
The Indian entertainment industry must acknowledge its influence on the masses and act responsibly. Just as cricketing ties were severed to send a strong diplomatic message, Bollywood too must refrain from indulging in misplaced soft diplomacy. There are countless talented Indian actors who deserve the opportunities being given to Pakistani artists. It is time Bollywood prioritizes national interest over commercial gains and aligns itself with the collective conscience of the country.
In conclusion, cultural exchanges should never come at the cost of national security and public sentiment. The return of Pakistani artists to Indian cinema not only undermines the sacrifices made by Indian soldiers but also contradicts the stance taken in other spheres of engagement. Until Pakistan takes definitive steps to curb terrorism, any form of collaboration should be out of the question. Art may be above politics, but it should never be above patriotism.