Kashmir Reframed: Through Bollywood’s Lens

Kashmir’s cinematic journey, from Bollywood’s favourite dream destination to a backdrop of conflict and politics, reflects India’s changing relationship with the valley.

Remember the scenic charm of Shakti Samanta’s Kashmir Ki Kali, with Sharmila Tagore’s Bollywood debut opposite the playful Shammi Kapoor? Or Raj Kapoor’s Bobby, which launched Rishi Kapoor and the stunning Dimple Kapadia, becoming the biggest box office hit of the year? Or perhaps Fitoor, Abhishek Kapoor’s adaptation of Dickens’ Great Expectations, starring Tabu, Aditya Roy Kapoor, and Katrina Kaif?

These films offered more than just cinema; they sold romance, music, dance, and dreams to many of us who longed to visit Kashmir and instead enjoyed the journey through the silver screen.

Kashmir has long been a dream destination for global travellers and a favourite of Bollywood filmmakers, who often saw its landscapes as a box office guarantee. Locations like Gulmarg, Pulwama, Srinagar, and Pahalgam have featured in some of Indian cinema’s most visually stunning scenes. Both classic and modern films have captured the valley’s beauty, making it the ideal backdrop for timeless romantic moments.

Junglee (1961) is said to be the first film to capture Shammi Kapoor’s musical romance and iconic “Yahoo!” shout—later inspiring the name of the search engine. It also marked Saira Banu’s striking debut opposite Kapoor’s comic charm, a pairing fondly remembered by many in their fifties and sixties today.

The 1965 hit Jab Jab Phool Khile, starring Shashi Kapoor and Nanda, tells the story of a poor Kashmiri boatman who falls for a wealthy tourist. Its melodious songs, composed by Laxmikant–Pyarelal with lyrics by Anand Bakshi, made it a box-office success in India and even in countries like Algeria, Morocco, Libya, and Marrakesh. While filming in Srinagar, a lieutenant colonel from Maharashtra reportedly fell for Nanda and asked director Suraj Prakash to relay a marriage proposal to her mother, which was declined. The film ran for 50 weeks and celebrated its golden jubilee.

By the time Kunal Kohli directed Fanaa (2006), Kashmir’s cinematic role had shifted. No longer just a romantic backdrop for songs and family drama, it increasingly became a setting for stories of terror, violence, and conflict, reflecting a politically charged narrative aimed at thrilling audiences.

Aamir Khan shed his romantic hero image to play a cold-blooded terrorist who kills his lover’s father without hesitation. The role—torn between love and a rogue nuclear bomb—could have harmed his screen persona, but didn’t. His strong performance, paired with memorable songs and Kashmir’s backdrop, fuelled the film’s success. Though romance takes a back seat to the terrorism plot, the two remain deeply intertwined.

A few years before Fanaa, Mission Kashmir (2000) had its own memorable moment during filming. Journalist Anupama Chopra, wife of director Vidhu Vinod Chopra, recalled that when Hrithik Roshan arrived in Kashmir in late 1999, his debut Kaho Naa... Pyaar Hai hadn’t been released, so no one recognised him. On his first day in Srinagar, dressed as a Kashmiri militant, security mistook him for a local due to his fair complexion and blocked his entry. Weeks later, the film’s release on 14 January 2000 made him an overnight star.

Rewind to 15 August 1992, when Mani Ratnam’s landmark Roja was released. Initially planned for Kashmir, security concerns and terrorism forced the team to shoot in lookalike locations—mainly Manali, with additional scenes in Coonoor and Ooty.

Written and directed by Vivek Agnihotri, The Kashmir Files tells a different story, depicting the exodus of Kashmiri Hindus after killings by Pakistan-backed terrorists. The reception was mixed—cinematography and performances were praised, but the film faced criticism for distorting history and promoting Islamophobia. Supporters, including Prime Minister Modi and BJP ministers, said it highlighted a neglected part of Kashmir’s past. However, screenings across India saw hate speeches and calls for violence against Muslims. Despite claims of political commitment to the Pandit cause, the film plays more like a monologue-heavy drama than a documentary, especially through a JNU student character whose research is never explained.

In his Al Jazeera article The Dangerous ‘Truth’ of The Kashmir Files (13 April 2022), Sanjay Kak—a Kashmiri Pandit and director of the documentary Jashn-e-Azaadi—recounts screening hurdles in several cities. He notes that days after the film’s release, Prime Minister Modi urged BJP MPs to watch it, saying it revealed “the truth that was suppressed for years.” Kak argues this endorsement marked the beginning of significant political capital being invested in the film and its contested narrative.

Place this alongside Sudip Sarkar’s Yahaan (2005), a romantic war drama about a Kashmiri girl and an Indian army officer amid Kashmir’s violence. It reminds us that Bollywood hasn’t wholly surrendered to films promoting violence and hate rooted in uncontrollable realities like birth, which we have no control over.

(The author is a film scholar. Views personal)