Beyond
Barbed Boundaries: Analysing Veer-Zaara
as an Alternative Border Narrative
Subrata
Barman,
PhD
Research Scholar,
Department
of English,
Cooch
Behar Panchanan Barma University,
Cooch
Behar, West Bengal, India.
Abstract: The India-Pakistan border is a matter of nationalistic
tensions for long with historical trauma. While mainstream discourse
perpetuates an antagonistic border narrative, Bollywood cinemas, on the other
hand, often offer an alternative lens of cultural proximity and human
connections. Veer-Zaara (2004),
directed by Yash Chopra, is one of those films which offers a counter-hegemonic
representation of the border. It reimagines the border not as a site of
division but as a bridge of shared cultural memory. Thus, this study explores
how Veer-Zaara constructs a
transgressive border narrative by employing spatial representation or gender
dynamics and emotional subversion of state-centric nationalism. Employing
Benedict Anderson’s concept of “Imagined Communities” and other theories on
nationalism and postcolonial film studies, the paper will examine how the film
deconstructs the rigid self vs. other binary between India and Pakistan. Unlike
previous Bollywood war films that reinforce national boundaries, Veer-Zaara integrates Sufi and Sikh
spiritual motifs, musical symbolism, and romantic transcendence to promote a
people-centric reconciliation. The study argues that the film’s alternative
border discourse aligns with peace-building efforts, challenging state-driven
narratives by
foregrounding humanistic and affective ties over geopolitical hostilities.
Ultimately, Veer-Zaara represents
the potential of cinema as a cultural text to renegotiate national identities
and offer a vision of cross-border solidarity.
Keywords: Border Narratives, Bollywood
Cinema, India-Pakistan Relations, Nationalism, Boundaries
“Borders are not only tangible physical features located
at the edge of state territory but are also cogent conceptual abstractions.”
(36)
(Shubhi Misra “Border and Bordering Practices from the Cinematic
Lens.”)
Introduction:
The relationship between India and Pakistan has
long been marked by tension, political rivalry, and deep-rooted historical
trauma since the Partition of 1947. The border between these two nations has
long been a matter of conflict, both physically and ideologically, influencing
the socio-political and cultural landscapes of South Asia. The highly militarised
India-Pakistan border has not only been a demarcation of territorial
sovereignty but has also shaped national narratives and identities. Cinema has
played an important role in reflecting as well as subverting these national
discourses. As Gita Viswanath and Salma Malik rightly stated, “Cinema is one of
the most popular and influential cultural productions in the lives of people in
India and Pakistan.” (61) Traditional Bollywood movies often stick to
nationalistic themes that emphasise the dichotomy of “self” and “other.”
Conversely, the emergence of alternative cinematic narratives offers a clearer
view of the border, which transcends geopolitical and ideological boundaries.
Bollywood has the ability to humanise the intricacies of cross-border relations,
which presents a chance to (re)imagine contentious borders as spaces of
cultural affinity and human solidarity.
Yash
Chopra directed the film Veer-Zaara (2004), which is a notable example
of an alternative border narrative which subverts traditional notions of
conflict.The film tells the
tragic love storyof an ill-fated Indian male and a
Pakistani female. Their relationship
is torn apart by personal struggles and political divisions. The film portrays the deep cultural and
emotional bonds shared between India and Pakistan. This
paper is a modest attempt to explore Veer-Zaara as a predominant
nationalistic rhetoric of the India-Pakistan border. The film shows a border
which is not demarcated by division but by the possibility of human connection.
The study is substantial in contributing to film studies and border studies.
The film (re)imagines the border as a site of convergence rather than conflict.
The study incorporates Benedict Anderson’s concept of “imagined communities” along
with Edensor’s ideas of national spatialization and other postcolonial film
studies. This study probes deeper into the film Veer-Zaara to explore
how it challenges the rigid binary of “self” and “other”through its emotional and spiritual depth.As we
see, much of the existing scholarship on Bollywood
and conflict focuses on its depiction of war and nationalism.
Whereas Veer-Zaara provides a counter-narrative that foregrounds
cultural affinity and the possibility of cross-border solidarity. Thus, the
research tries to fill the gap by analysing this alternative ‘cine-narrative’
to understand the role of Bollywood in (re)shaping perspectives on national
boundaries and its potential contribution to peace-building in the context of
India-Pakistan relations.
Theoretical
Framework & Literature Review
Cinema has long been a powerful medium in shaping
national identity and reinforcing political ideologies. Given the long-standing tensions between
India and Pakistan, Bollywood often plays a dual role—promoting national pride
while also offering moments of cultural connection and understanding.The
concept of nationalism, as theorised by Ernest Gellner and John Breuilly,
underscores the role of cultural production in shaping a collective identity
(Gellner 53-62; Breuilly 18-42). Benedict Anderson’s seminal work Imagined
Communities (1983) extends this argument, proposing that nations are
“imagined” through shared symbols, narratives, and cultural expressions
(Anderson 37-46). Tim Edensor further elaborates on the ways national identity
is performed in everyday life and through popular culture, including film
(Edensor 1-35). For Edensor, “national identity (…) is dynamic and dialogic”
(17). Bollywood, being India’s most influential film industry, has historically
played a crucial role in reinforcing and challenging nationalist ideologies.
Bollywood films construct and mediate these imagined communities by visualising
the nation as a unified cultural entity, often through depictions of
cross-border relationships and conflict resolution. Partha Chatterjee, in his
critique of nationalism, argues that cultural nationalism often operates within
a dual framework of modernity and tradition, where cinema serves as a tool for
both reinforcement and subversion of state ideologies (Chatterjee 116-134).
Alternative
Border Narratives in Bollywood
The cinematic representation of the India-Pakistan
border has evolved over the decades, reflecting shifting socio-political
attitudes. Early Bollywood war films such as Border (1997) and LOC
Kargil (2003) embraced jingoistic narratives, reinforcing a rigid binary of
“self” (India) versus “other” (Pakistan). These films often depicted Pakistani
characters through a militarised lens, emphasising conflict and hostility.
However, a gradual shift towards more peace-oriented narratives has emerged,
offering a counter-discourse to nationalist rhetoric. Films such as Main
Hoon Na (2004) and Bajrangi Bhaijaan (2015) propose humanised
perspectives of cross-border relations, challenging the traditional enemy trope
and emphasising shared cultural heritage (Dudrah15-27).The role of Veer-Zaara
in this cinematic transition is significant. “The cross-border story of love,”
as Ayesha Ali Shan has pointed out, “between a Pakistani and an Indian and the
resistance to their togetherness has been projected in this all-time Saga”
(32). Unlike its predecessors, the film eschews militaristic nationalism in
favour of an emotional and cultural rapprochement. Prior scholarship on Veer-Zaara
has examined its unique portrayal of Indo-Pak relations. Banerjee argues that
the film constructs a “borderless” love story that subverts conventional
cinematic nationalism by emphasising human connections over political divisions
(Banerjee 243-245). Similarly, the film’s spatial representation of the border using
shared cultural markers like Punjab’s landscapes, language, and music creates a
liminal space that blurs the distinctions between India and Pakistan. Thus, Ayesha
Ali Shan notes that “it can be assessed that Bollywood films possess a culture
of presenting the image of Pakistan and the Muslim characters from a neutral
context, sometimes with some positive attitudes as implied by movies like Main
Hoon Na and Veer-Zaara.” (32)
The study of borders in cinema
aligns with critical geopolitics, which examines how popular culture constructs
and negotiates territorial identities. Shubhi Misra’s analysis of borders in
cinema suggests that films serve as both reinforcement and subversion of
geopolitical ideologies (Misra 39-40). She further states that “Films at times
deconstruct the idea and concept of borders, but at the same time, they also
try to bring out the significance of borders and related geopolitics through
visual imagery and imagination.” (40) The portrayal of the India-Pakistan border
in Veer-Zaara moves away from militarisation towards a narrative of
reconciliation, aligning with Benedict Anderson’s argument that nations are not
static entities but fluid constructs that can be reshaped through cultural
discourse (Anderson 37-46). Besides, the role of gender in shaping these
narratives is crucial. Lal examines how the representation of women in border
narratives often serves as a metaphor for the nation itself, with female
characters symbolising the vulnerability or strength of the homeland (Lal
113-115). In Veer-Zaara, Zaara’s journey across the border represents
not just an individual love story but a broader metaphor for the possibility of
cross-border harmony. The film’s subversion of conventional nationalist
rhetoric through its depiction of female agency contributes to a larger
discourse on peace-building in South Asian cinema.
Deconstructing the Border in Veer-Zaara
Veer-Zaara recounts
the love story of an Indian man and a Pakistani woman who are torn apart by
personal and political challenges. The narrative unfolds mainly through
flashbacks from a prison cell in Lahore, Pakistan, where Veer is wrongfully
imprisoned. A young lawyer, Saamiya Siddiqui (played by Rani Mukerji), is
appointed by the Human Rights Commission in Pakistan to represent Veer. As they
develop a bond, Veer opens up about his past. Veer Pratap Singh (Shah Rukh
Khan), a helicopter squadron leader in the Indian Air Force, works along the
India-Pakistan border. During a rescue mission in the mountains, he saves Zaara
Hayaat Khan (played by Preity Zinta), a Pakistani woman travelling alone to fulfill
her elderly nanny Bebe’s (Zohra Sehgal) final wish. Bebe, a Sikh woman who has
lived in Pakistan since Partition, wants her ashes to be scattered at a sacred
site in Punjab, India. Seeing that Zaara is travelling alone, Veer offers to
accompany her. Along the way, he invites her to his village, where she meets
his family and experiences the warmth of rural Punjab. There, Veer and Zaara
develop a deep connection that turns into love. However, Zaara goes back to
Pakistan for her arranged marriage. Later, she realises she truly loves Veer.
Hoping to see her again, Veer travels to Pakistan. But Razaa, Zaara’s fiancé,
stands in their way. Razaa falsely claims Veer is an Indian spy, which leads to
his arrest. Veer stays silent to protect Zaara’s name and spends 22 years in
prison. A young lawyer named Saamiya works hard to reopen his case. After many
brawls, she was able to prove his innocence. At the end, Veer and Zaara reunite
after ages and return to India together. It shows that true love can survive
anything, even time and distance.
The border between India and Pakistan
is often viewed as a firm line drawn by decades of political and national
tension. Yet Veer-Zaara questions this perception by
presenting the border as a space of shared memories and emotions. The depiction
of the rural landscape of Punjab in the film emphasises a cultural continuity
that softens the divide between the two nations. As Shuri Mariasih Gietty Tambunan has observed, “The
film depicted Pakistan’s landscapes not through any visualisation but through
the Pakistani character’s words and description.” (48) While Indian Punjab is
portrayed with vivid realism, Pakistan appears through recollections and
feelings which evoke familiarity rather than difference. The Wagah Border,
which is often marked by displays of nationalism and military pride, becomes a
site of reunion and emotional healing in the film. This transformation suggests
that human connections can transcend political boundaries. Through its
narrative and imagery, Veer-Zaara invites viewers to see the border not
as a symbol of division but as a reminder of the deep cultural and historical
ties that unite the two countries.
Beyond spatial representation,
engagement of the film with gender as a mediator of cross-border tensions is
pivotal in dismantling nationalist binaries. Zaara, the Pakistani protagonist,
serves as both a literal and symbolic figure. Her journey from Pakistan to
India and her eventual entrapment within patriarchal and nationalist
constraints mirror the suppression of cross-border agency. Her character
embodies the complex dynamics of cultural and political belonging, wherein
women are often depicted as bearers of national honour and, consequently, as
subjects of control (Lal 115-117). Saamiya, the female lawyer who advocates for
Veer’s release, further subverts traditional power structures by challenging
both patriarchal and nationalist hegemonies. In her role as a defender of
justice, she represents a modernised, gendered intervention in state-driven
narratives of conflict, reinforcing the potential for peace-building through
feminist agency (Shan31-32). Bollywood frequently employs romance as a
reconciliatory tool, and Veer-Zaara follows this tradition by presenting
love as a force that transcends territorial divisions. However, unlike
conventional love stories that reinforce national loyalty, this film redefines
romantic longing as a means of questioning the very legitimacy of the border
itself. Through Zaara and Saamiya, Veer-Zaara critiques the rigid
nationalism that often denies individual agency, demonstrating that women in
cross-border narratives are not merely passive symbols but active agents of
mediation and reconciliation.
The film’s emotional and musical
strategies further destabilise nationalist discourse by invoking spiritual and
cultural motifs that transcend state-defined identities. The song Aisa Desh
Hai Mera explicitly blurs the distinction between India and Pakistan,
lyrically and visually depicting a common Punjabi ethos that defies
geopolitical separation. As Rajinder Dudrah notes, “Often, when Veer and Zaara
are together in the same frame, the music is neither signalled as Indian or
Pakistani but a mixture, a blend of the two signifiers being evoked as one
through the audio and visual registers.” (23) The inclusion of Sufi and Sikh
spiritual elements reinforces an ideology of unity, drawing from a historical
tradition that predates Partition and emphasising the futility of contemporary
hostilities (Dudrah23). The use of music as an emotional register allows Veer-Zaara
to construct an effective counter-narrative, where sentiment and cultural
memory override nationalist antagonism. Emotional storytelling, particularly
through Veer’s unjust imprisonment and Zaara’s sacrifices, subverts the
state-driven hostility that typically defines Indo-Pak relations in Bollywood
cinema. Veer-Zaara, by prioritising human emotions over political
animosities, aligns itself with a tradition of alternative border narratives
that seek to humanise rather than demonise the “other”. Ultimately, the film
offers a vision of reconciliation through a shared history of cultural intimacy
and the enduring power of love, standing as a cinematic testament to the idea
that borders, both physical and ideological, can be overcome through human
connection.
At the climax of Veer-Zaara, there is a deeply moving courtroom scene where
Veer Pratap Singh recites a poem titled Prisoner No. 786. This poem holds profound significance as it emphasises the themes of
India-Pakistan unity, shared heritage, and the deep cultural connections
between the two nations. When the judge allows Veer to speak, he uses this
moment to express his thoughts on his imprisonment, his perception of the world
from behind bars, and the idea that, despite political divisions, the people on
both sides of the border are not so different.
“I, prisoner number 786, look outside through these bars of my
prison cell
See the days, months, years turn into decades.
From this earth, I can smell the fragrance of my father's fields.
This sunlight makes me remember my mother's chilled lassi.
This rainfall brings me the movement of the swings during the monsoon.
This winter brings me back the memories of the fire on the Lodi
night.
They tell me that this is not your country.
Then why does it seem like mine?
They tell me that I am not like them.
Then why do they seem like me? (…)” (Veer-Zaara)
Through poetic verses, Veer reflects on his life in
Pakistan and draws parallels with his homeland in India. He speaks of the
familiar scents, weather, and emotions that transcend national boundaries,
challenging the notion that the two countries are fundamentally different. He
subtly critiques those who believe in rigid divisions, stating that
everything—from the land to the people—feels the same to him. The poem also
highlights the influence of two women who shape Veer’s life. One is Saamiya,
the lawyer who fights with courage and conviction to secure his freedom. The
other is Zaara, the woman he loves, who sacrifices her own life in Pakistan to
dedicate herself to his village in India. When Veer recites his poem, his voice
and words carry such deep emotion that they move everyone present in the
courtroom, including the judge. The scene ends with a heartfelt standing
ovation, capturing the power of love, sacrifice, and human connection. It
reminds us that while borders may divide nations, they can never break the
emotional bonds and shared histories that unite people across them.
The political narrative that defines
the India–Pakistan border has long been dominated by the language of conflict.
It is marked by territorial disputes, military tensions, and deeply rooted
nationalist rhetoric. This discourse consistently portrays the neighbouring
country as an opponent rather than a partner in dialogue. However, Veer-Zaara
presents a counterpoint to this statist narrative. It shifts the focus from the
politics of division to the human stories that transcend borders. Instead of
reinforcing hostility, the film advocates for a people-centric understanding of
Indo-Pak relations, where shared cultural traditions, familial bonds, and
personal sacrifices hold more significance than political rivalries. The film’s
portrayal of Veer, an Indian Air Force officer who willingly sacrifices his
identity and freedom for love, and Zaara, a Pakistani woman who chooses human
relationships over nationalist allegiances, serves as a direct critique of
state-driven narratives that rigidly define patriotism in exclusionary terms (Lal 115-117). The repeated visual and thematic
emphasis on cultural similarity rather than difference, depicted through shared
traditions, language, and familial values, further cements the film’s advocacy
for people-to-people diplomacy as a viable path toward reconciliation. By
rejecting the idea of a monolithic enemy and replacing it with complex,
empathetic individuals on both sides of the border, Veer-Zaara subverts
the conventional nationalist binary of “self” versus “other” (Tambunan 44-59).
At the heart of Veer-Zaara is
the idea that cross-border love can function as a symbol of hope, challenging
nationalist militarism by placing personal relationships above political
conflicts. The film’s narrative arc, which follows Veer’s self-imposed
incarceration in Pakistan for 22 years, underscores how individual sacrifices
often carry deeper political significance, particularly in the context of
rigidly divided nations. As Chatterjee argues, nationalism is often constructed
through rigid ideological frameworks, but it is in the realm of the personal
that these structures can be dismantled (Chatterjee 95-115). Veer’s decision to
resign from the Indian Air Force has a deep symbolic meaning. It epitomizes a
conscious move away from militaristic nationalism toward a more human-centered
sense of solidarity. Conventional war films such as Border (1997) or LOC Kargil
(2003) glorify military service as the highest form of patriotism. Whereas Veer-Zaara redefines heroism as the courage to rise above
national boundaries through love and selfless action. As Ayesha Ali Shan
observed, “Veer-Zaara
showed a cross-line
heartfelt story focusing on penance, love, and mankind, presenting a positive
image of the two nations”. This reversal of traditional ideals reflects a
broader shift in Bollywood’s portrayal of cross-border relations. Similar to
films like Bajrangi
Bhaijaan (2015),
which use personal relationships to challenge entrenched hostilities
(Dudrah15-27), Veer-Zaara questions the nationalist narrative
that views India–Pakistan relations solely through the lens of conflict.
Instead, it offers a vision grounded in empathy, cultural continuity, and
shared humanity. The message of the film extends beyond its story to contribute
meaningfully to peace studies and cultural diplomacy. By presenting love as a
bridge across divisions, the film opens a new discourse for younger audiences,
one that values reconciliation over rivalry. The popularity of the film in both
India and Pakistan demonstrates the unique ability of cinema to transcend
ideological divides and foster understanding. In a region where political
negotiations often falter, Veer-Zaara
stands as a reminder that art can imagine alternative futures where borders are
not barriers but meeting points of shared human experience.
Conclusion
In conclusion, thus we can say, Veer-Zaarais a powerful cinematic work for contesting
conventional border narratives by turning the focus from hostility to human
connection. It is not like other so-called mainstream Bollywood films that
reinforce nationalist divisions. Rather, it portrays India–Pakistan
relations through shared culture and emotion instead of politics and conflict.
Here, the film presents rural Punjab as a common cultural space as a
counter-narrative that rejects militaristic nationalism. It values personal
bonds over state-driven enmity. The film also breaks away from the usual
portrayal of Pakistan as an adversary. By depicting humane and relatable
characters on both sides of the border, it portrays Pakistan as part of the
same cultural and emotional continuum as India. Its ability to inspire empathy
for people across the divide creates an alternative narrative that transcends
rigid territorial nationalism. It shows shared history and identity. Thus, Veer-Zaara
redefines Indo–Pak relations through its emotionally rich storytelling and
visual depiction of a “borderless” Punjab. It suggests that love and sacrifice
endure far beyond the reach of political conflict.The
film also shows the broader role of Bollywood in shaping cross-border
perceptions and peace-building efforts. Bollywood, being one of India’s most
powerful cultural exports, holds immense potential in shifting the dominant
narrative on Indo-Pak relations from conflict to cooperation. However, the need
for more nuanced film narratives that go beyond state propaganda remains
crucial. While Bollywood has historically oscillated between
hyper-nationalistic war films and peace-oriented romances, there is still a gap
in truly complex portrayals of border issues that acknowledge the
socio-political realities while also advocating for reconciliation. Hence,
Ayesha Ali Shan has rightly stated that “movies like Veer Zara shows a cinematic rendition of cross-border love by
harmonising neighbouring countries with humanitarian efforts” (39). Future
narratives must move beyond simplistic binaries of hero and villain.Instead, it
should offer a more layered exploration of cross-border identities, migration,
and cultural hybridity.
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