Alternate nationalism in Raazi

Meghna Gulzar’s Raazi, released in 2018 is set against the backdrop of 1971 Indo Pak war. The film explores the journey of an Indian spy in pre-war times.
Sehmat being a woman is married and sent off as a close proximate straight into the Sayed household, where she in no time gains family’s confidence as well as gains access to all the confidential information. A similar move is adopted in Sujoy Ghosh’s 2012 film “Kahaani” by deploying a pregnant woman as an undercover agent, who due to her condition easily gains sympathy and every possible aid. Also, Raazi marks a rift from the conventional image of a female spy used as a seduction tool, a common trope present in numerous films such as the character of Dominika Egorova, a Russian intelligence agent played by Jennifer Lawrence in 2018 film “Red Sparrow”.
     Despite employing a female spy, “Raazi” actually problematises the notion of agency. Agency here refers to a sense of self assertion and empowerment. Sehmat as an undercover agent is ultimately serving the ‘state’ and not any self-centred motives. Even though she consents to the mission, there is a considerable emotional and conditional baggage attached to her father’s decision, who in Khalid Mir’s (Sehmat’s trainer) words literally writes his daughter’s destiny.
     Sehmat is not portrayed as someone challenging the patriarchal structures but in fact sub serves to them, she is instructed by Khalid Mir and I quote:
“chahe jo bhi ho rha ho tumhare saath, ek nayi bahu ki muskurahat hamesha tumhare chehre par rehni chahiye”
Sehmat loses a sense of self and dedicates herself entirely to the state’s mission. This can be interpreted as annihilation of identity as well as annihilation of agency, as evident in the following dialogue by Mir:
“jang mein siway jang ke aur kuch maine nhi rakhta, koi maine nhi rakhta, na tum , na main”
The characters of Sehmat on one hand and the men of Sayed family on the other seem to ultimately have the same objective, that is serving one’s motherland. It’s just that the two are placed on different sides. Upon uncovering Sehmat’s reality to his father, Iqbal affirms that she was performing her duty, just as they do.
     The song “Ae Watan” from Raazi penned by Sampoorna Singh Kalra, popularly known by his pen name ‘Gulzar’, is equally significant for both- the Indian spy as well as Pakistan army officials and their children.
     One of the most significant features of the film is that it brings forth the “human face” of Pakistan and doesn’t portray them as essentially brutes. In fact, Gulzar places her characters in adverse situations without making anyone the villain .
Also, the  protagonist cuts a sharp edge from the conventional patriotic ‘heroes’- a muslim woman. Often this position is held conveniently by a male upper caste hindu character, but Raazi de-communifies nationalism, conveying it to be a selfless act beyond the ties of religion or sect.
     Amidst this web of multiple and layered identities lies the key element of inner conflict, a tussle between human values and national duty.
     Even though the characters uphold the idea that national duty is above all, the film has its moments of inner strife. Sehmat at the end is unable to reconcile the inevitable violence highlighted through the director’s move of making her protagonist gasp and even break down.
    The climax of the film crystalizes the inner conflict, where instead of celebrating the mission’s success with a glass of champagne, as seen in the second last shot of Neeraj Pandey’s film “Baby” or giving away an all gushing wide angle shot of the enormously waving tricolour, it is the protagonist herself who breaks down, feels guilty as well as questions the whole dynamics of nationalism and national security.
     Raazi is a film that explores the co-existence of multiple identities, giving rise to schism and crisis that remain incompatible.