Imtiaz Ali’s coming-of-age drama ‘Main Vaapas Aaunga’ has received widespread acclaim for its sensitive portrayal of partition and the possibility of reconciliation. At the heart of the story is 95-year-old Ishwar (Naseeruddin Shah), who wishes to visit his hometown of Sargodha in present-day Pakistan, a decision that leaves his family, especially his grandson Nirveer (Diljit Dosanjh), perplexed. As the film continues to strike a chord with audiences, co-writer Nayanika Mahtani reflected on its deeply personal roots and the ideas that shaped its narrative.Nayanika recalled how her collaboration with Imtiaz Ali began unexpectedly in Mussoorie. She happened to meet the director there and gave him a copy of her novel Across the Line, which also dealt with Partition. Coincidentally, Imtiaz was working on a story revolving around the same historical event and asked her to write 20 to 30 pages on the topic. After reading her work, he simply told her: “We keep going.”The opportunity was especially meaningful for Nayanika because she wanted to tell the story of Partition free of divisive narratives.
“I was of course thrilled to be telling the story of Partition, and that too with the sensitivity that Imtiaz brought to it, because I was very clear that I did not want to tell a story in which there was the ‘other’ or the ‘other’. “I would rather not tell a story than tell this kind of story,” she said.For the writer, Main Vaapas Aaunga is also rooted in family history. All four of her grandparents emigrated from what is now Pakistan, and her maternal grandmother also hails from Sargodha, the same central city in the film.
Reminiscing about her grandmother, Nayanika said, “Whenever my grandmother talked about Sargodha, she would only talk about happy memories. There was never bitterness. There was never malice. And imagine how many reasons she had to feel bitter.”
“She said her paternal grandparents, who came from Lahore and Rawalpindi, hold similar memories. Instead of resentment, remember friendships that transcended religion.
“Their best friends remained Muslims. I never saw in that generation an ounce of hatred. So, when we were telling this story, even Imtiaz had the same sense, that there was nothing else,” she added.Nyanika also believes that the emotional wounds endured by many who lived through Partition remain largely unspoken. Referring to Ishwar’s character in the film, she explained: “Ishar Grewal is not a nice guy.
He is a bitter man. But look at what he went through. And here comes the end, because we judged them based on what we saw, but there was something they didn’t talk about.Expanding on this thought, she said: “There was something that was never mentioned. A lot of them dealt with PTSD. But no one was talking about it, because independence coincided with Partition, and that took center stage. So, you weren’t allowed to be miserable.”
But imagine on that eve of independence, every year, what they would have thought.”Nayanika further revealed that she and Imtiaz Ali were determined to depict the suffering experienced on both sides of the border, rather than presenting a one-sided narrative. “One thing Imtiaz and I were (sure of) I said to him: ‘We have to have a scene where we see Muslims being killed.’ So, that scene on the train where Kino’s hat falls off, and the scene where the train arrives at Lahore station, and Afzal finds his entire family dead.
So, we see both sides, and there is a balanced view. Otherwise, it can be a bait for anger.
