Debutant director Nandita Das has had a difficult task to make a movie like 'Firaaq'(implying quest) on the aftermath of Gujarat 2002 riots. This is a fictional account set one-month post the Gujarat riots of 2002 and unveils through multiple parallel narratives. Nandita begins her movie with a mass grave being dug for the people killed in the riots! Incidentally, the gravediggers recognize friends, family and neighbors when they unearth the limbs and torsos of the riot victims. However, even though the city turns normal, the two communities remain tense as they get polarized. The biggest victim of this trauma is Mohsin who spends his childhood in a camp where he has been dumped after having lost his entire family.
Though desperate to find his father and return home, the boy comes across a Gujarati housewife Deepti Naval who gives him refuge by renaming him as Mohan and tends to his wounds until her abusive and despotic husband Paresh Rawal allows her. After all, Rawal has been a part of the rioters. But her guilt of closing the door on to a Muslim woman frantically seeking safety from a frenzied Hindu mob has always haunted her. A contemporary Hindu-Muslim couple - Sameer and Anu - played by Sanjay Suri and Tisca Chopra, respectively, are ready to flee from Gujarat to a more cosmopolitan Delhi where the husband may not have to hide his Muslim identity and take on his wife's surname to remain alive! However, musician Khan Sahib played by Naseeruddin Shah berates his faithful retainer played by Raghubir Yadav for not readying the house for the morning sittings, where people from all communities would come to sing with him. The people stop coming and there is no music. The Khan is worried not because Hindus and Muslims are killing each other, but because humans are killing each! He plays optimistic until his diminishing student count. Meanwhile, Henna girl Muneera played by Shahana Goswami returns to her plundered home with her infant and husband and ends up suspecting her best friend for the pillage!
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Critically analyzing the movie, we find that it reminds us of Nishikant Kamat's 'Mumbai Meri Jaan'. Like Kamat's film, 'Firaaq' also depicts the stories evolving post the riots. However, the character conflicts and their dialogues aren't as sharp as in 'MMJ'. Though Nandita's characters are effective yet they fail to lead to suggest solutions. Also, Sanjay Suri's overnight acceptance of his true identity is beyond persuasion. Deepti Naval depicts herself very well and this time Paresh Rawal isn't his usual comic star, so presents a different image. Shahana turns boring as she goes on attempting to know the men who burnt her house.
Nandita isn't pessimistic by showing violence and hatred but has tried her best to end her film on ray of hope. Muslim musician Naseer strikes a chord with his two Hindu disciples. Sanjay Suri comes to terms with his minority identity and shows courage to coexist amongst the majority community including his wife. Her depiction of the victimized child is very touching and the USP of the movie. We don't understand why the director fails to link this orphan child with all tracks as he is a common link to merely two subplots. So far as the cast is concerned, their performances are excellent in all respects. The narration is good whether concerning Hindi, English, Gujarati or Urdu. Though not flawless in subplots and pace, the movie succeeds in conveying its message of cordial relations between the two historically divided communities.
