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By:

Naresh Kamath

5 November 2024 at 5:30:38 am

Indian Tourists Need a Reputation Reset

India has long taken pride in the philosophy of ‘Atithi Devo Bhava’ - the belief that guests deserve warmth, respect and dignity. It is an idea deeply woven into the country’s cultural imagination, often been projected as a defining Indian value. As millions of Indians travel overseas every year, the conduct of a small but highly visible section of Indian tourists is increasingly shaping how India itself is perceived abroad. The issue is not about a single incident or a handful of viral...

Indian Tourists Need a Reputation Reset

India has long taken pride in the philosophy of ‘Atithi Devo Bhava’ - the belief that guests deserve warmth, respect and dignity. It is an idea deeply woven into the country’s cultural imagination, often been projected as a defining Indian value. As millions of Indians travel overseas every year, the conduct of a small but highly visible section of Indian tourists is increasingly shaping how India itself is perceived abroad. The issue is not about a single incident or a handful of viral videos but a pattern that is drawing notice from hotels, tourism operators and local authorities across the world. The debate gained fresh momentum after reports emerged of a Swiss hotel issuing a notice specifically addressed to Indian guests. The advisory reportedly requested guests not to pack food from breakfast buffets for later consumption and reminded them to maintain silence in corridors and balconies. Hotels routinely issue guidelines. But when a particular nationality becomes the subject of a specific advisory, it inevitably raises larger questions about perception. “It is a sorry state of affairs. Indians, especially in groups, are displaying atrocious behaviour. This was anyway bound to happen,” says Subhash Motwani, founder of Namaste Tourism. Embarrassing Incidents Whether the notice was justified is another separate matter. The question is why such perceptions are emerging in the first place. Recent months have seen several incidents involving Indian tourists gain traction on social media. One widely circulated video showed travellers performing garba on an airport tarmac in Vietnam. Garba is among India’s most vibrant cultural traditions and a source of immense pride for millions. Yet airports are highly regulated spaces where safety protocols and discipline take precedence over celebration. The incident became symbolic of a larger problem. The rise of social media has encouraged some travellers to treat foreign destinations as stages for content creation. Public dancing, loud celebrations, disruptive behaviour and attention-seeking stunts may generate views and engagement online, but they can also leave lasting impressions on locals and fellow tourists. India is hardly the first country to confront such a challenge. During the 1950s and 1960s, American tourists acquired a reputation for arrogance abroad, giving rise to the phrase “Ugly American.” Britain spent decades dealing with the international embarrassment caused by football hooliganism. China faced similar concerns as outbound tourism surged during the early years of the twenty-first century. A nation’s image is shaped not just by its economic achievements and diplomatic influence but also by the behaviour of its citizens overseas. India today finds itself in a similar situation. Indian tourists are now among the most visible traveller groups across Europe, Southeast Asia and the Middle East. This is, in many ways, a remarkable success story. However, with visibility comes responsibility. Hospitality professionals across destinations frequently point to recurring concerns. Excessive noise, queue-jumping, disregard for local regulations, overcrowding hotel rooms and attempts to bypass established rules through jugaad are among the complaints often cited. Collectively, repeated experiences can create lasting perceptions. The most revealing aspect of the debate is that Indian travellers often display exemplary discipline in countries known for strict law enforcement. In destinations such as Singapore, the UAE, Qatar and Saudi Arabia, compliance with rules is generally high. Complaints tend to emerge more frequently in places perceived as relaxed or lenient. That suggests the challenge is not one of awareness. Most travellers understand the rules perfectly well. The problem is often a mindset that rules can be negotiated when consequences appear unlikely. Changing that mindset is far more important than introducing additional regulations or issuing fresh advisories. Every interaction at an airport, hotel, restaurant, tourist attraction or public transport system contributes to how a country is viewed. These everyday encounters often shape perceptions more powerfully than government campaigns or tourism advertisements. As India stakes its claim to a larger role in the world, its citizens must recognise that national prestige is shaped not only by economic achievements and diplomatic successes, but also by everyday behaviour abroad. The overwhelming majority of Indian tourists travel responsibly and leave behind positive impressions. Their conduct rarely becomes news because courtesy seldom goes viral. Yet a handful of highly visible incidents can overshadow thousands of positive experiences. The challenge is to encourage responsible travel and a greater awareness that behaviour abroad carries consequences beyond the individual. The conduct of Indian citizens overseas should reflect the confidence and values of a nation seeking not merely recognition but enduring respect. (The writer is a senior journalist based in Mumbai. Views personal.)

When Art Becomes a Battlefield: Revisiting ‘The Train’

Updated: Feb 18, 2025

The Train

In the waning months of World War II as the Allies inch closer to Paris, an art-obsessed Nazi colonel embarks on a final, desperate act of cultural plunder. A locomotive brimming with stolen masterpieces - works by Renoir, Matisse, Degas, Picasso, Van Gogh - barrels toward Germany. Thus begins John Frankenheimer’s relentlessly riveting ‘The Train’ (1964).


The film, one of the last great action spectacles shot in stark black and white, is a rare bird - an ‘intellectual actioner’ that merges spectacle with substance.


War films have long been fixated on what makes a cause worth fighting for. Most stories in the genre hinge on the salvation of people, nations or ideologies, but ‘The Train’ is different. It wrestles with the idea that a country’s identity is not only its people but also its art. Yet it does not glorify this ideal without question.


Burt Lancaster, in a performance as rugged as the steel tracks his character fights to sabotage, plays French Resistance leader Labiche, a railwayman with no love for the art in question. Yet, he and his fellow partisans engage in a deadly chess match to thwart the train commandeered by the film’s most compelling figure - Nazi Colonel von Waldheim, played with mesmerizing menace by Paul Scofield.


Waldheim is no ordinary villain. Unlike the cartoonish Nazi brutes of WW2 films, he is cultured, a man who speaks of art with near-religious reverence. For him, the paintings are the essence of civilization itself. His obsession makes him dangerous, but also strangely tragic.


The hardened Labiche is deeply sceptical of the notion that culture is worth more than a man’s life. But as the film unfolds, his actions betray his cynicism. He begins derailing the train’s journey, engaging in a lethal war of wits with von Waldheim. Labiche, for all his pragmatism, cannot bring himself to let the Nazis abscond with the “soul of France.”


Frankenheimer, who took over after Lancaster fired the original director Arthur Penn for making the film ‘too intellectual,’ crafts a masterpiece of tension and realism. The train sequences, filmed with real locomotives, are breathtaking.


François Truffaut once remarke d that war films in black and white feel more authentic, and here, cinematographer Jean Tournier delivers stunning compositions reinforcing the film’s realism. The deep shadows and stark contrasts recall war photography, lending an almost documentary-like immediacy.


Frankenheimer’s dynamic camerawork heightens the film’s relentless momentum. One of the most jaw-dropping sequences - a real train derailment wherein a train loaded with Nazi troops collides with another at full speed - is a visceral reminder of an era when action cinema was built on precision and ingenuity rather than digital trickery.


Beyond the action, there are moments of quiet devastation, none more affecting than Michel Simon’s poignant performance as ‘Papa Boulle,’ the aging railway worker caught in the resistance’s deadly game. Simon, a legendary French actor, imbues Boulle with warmth and weary dignity. In a single, heartbreaking moment, when he naïvely assumes he can outwit the Nazis only to meet a cruel fate, Simon captures the human cost of war.


Lancaster, who performed many of his own stunts, brings a raw physicality to the role. Maurice Jarre’s percussive score adds to the film’s sense of urgency.


The 1960s were a golden era for World War II cinema. Big-budget ‘caper’ epics like ‘The Guns of Navarone’ (1961), ‘The Dirty Dozen’ (1967) and ‘Where Eagles Dare’ (1968) delivered slam-bang action while more cerebral thrillers like ‘The Counterfeit Traitor’ (1962) and ‘The Night of the Generals’ (1967) examined war’s ethical complexities. ‘The Train’ straddles both worlds, delivering heart-pounding thrills while posing difficult questions.


Yet, for all its action, The Train is ultimately a film about values. In a world where art is often dismissed as secondary to survival, its central dilemma remains eerily relevant today. In the film’s haunting final shot, as Labiche’s silent, limping figure walks away from the dead bodies and the undisturbed art masterpieces, the uncomfortable question lingers: What, in the end, is truly worth saving?


Today, when so much action cinema is driven by CGI bombast, ‘The Train’ feels like an artifact from a lost age. It is a film about the fragility of culture, the cost of resistance and the uneasy choices war forces upon those caught in its grasp. It remains, in every sense, a must-watch.

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