Partition’s Pain Revisited: ‘Allah-Hu-Akbar’ and ‘Nara-E-Takbeer’ Echoes Unearthed in ‘Bengal 1947

The haunting specter of India’s partition looms large whenever discussions arise, serving as a stark reminder of the bitter history that claimed the lives of over 20 million people. Now, this tumultuous era finds cinematic expression in “Bengal 1947.” Among its cast is the familiar face of television, Devoleena Bhattacharjee, known for her portrayal of ‘Gopi Bahu’ in the soap opera “Saath Nibhaana Saathiya,” alongside Ankur Arman. Atul Gangwar assumes the role of the antagonist in the film.

In one scene, the antagonist boldly proclaims that only Pakistanis will inhabit the sacred land of Pakistan, questioning whether non-Muslims will coexist. The film starkly depicts violence accompanied by chants of ‘Allah-Hu-Akbar.’ Another scene features a villain adorned with an Islamic cap, asserting that ‘they’ do not belong, prompting another Muslim elder to proclaim that those who do not belong must be assimilated. Several scenes depict the massacre of Hindus amidst chants of ‘Nara-E-Takbeer.’

Pratap Somvanshi, Managing Editor of “Hindustan” newspaper, initially approached the screening of this film with skepticism, expecting to leave midway. However, the film’s gripping narrative held his attention till the end. Screenings of “Bengal 1947” were also held at the “Mewar Talk Fest” in Udaipur. The film showcases the culture and attire of West Bengal, based on a love story during the partition era. It highlights the contributions of women to the Vedas and dispels notions of caste discrimination.

Aakashaditya Lama is credited with the writing and direction of the film, initially titled “Shabri Ka Mohan.” However, it was later renamed “Bengal 1947.” The film was shot in locations like Chitrakoot, Kangar Valley, Jagdalpur, and Paralkot, with additional scenes filmed in Udaipur. Satisfied with the film’s reception, producers Satish Pandey and Rishabh Pandey see it as a means to educate audiences about Indian culture and roots. They aim to ignite a sense of cultural pride among the youth, who are often swayed by foreign influences, emphasizing the need to preserve and promote Indian heritage.

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