Mogul Mowgli: Riz Ahmed & Bassam Tariq Explore The South Asian Psyche
By: Yousuf Hussain
Tags: Cinema, Film, Movies, History, Identity

Photograph: Mughal Mowgli Ltd/BBC

“I was born from this rupture, and I am the sickness from this separation.”

Riz Ahmed, playing ‘Zed’ in a Pirandellian role, explores the cross-section of identity, history, and culture. Zed is an up-and-coming rapper who is struck by an apparent autoimmune disease, leaving him immobile on what could’ve been his big(ger) break.

As we come to understand Zed’s parentage we gain further insight into his illness. His father escaped partition India, in the process witnessing the brutal consequences of Britain’s hasty exit from the subcontinent. To this day partition affects, not only those who live in India, Pakistan, and Bangladesh, but each nation’s respective diaspora — particularly those living in the West.

One, often undiscussed, consequence of partition is the inherited trauma many South Asians in the West experience. Coming from nations of individuals who had to question their ancestry and identity, it’s typical to have to do the same yourself. This however is exacerbated by being a minority in a country where the question ‘where you from ?’ has the ability to incite an existential crisis.

It’s apparent Zed’s illness is more than the medically defined autoimmune disease he has been diagnosed with. It’s a battle with his past and with himself. One line of dialogue that is intrinsic to understanding the subtext of the film is Toba Tek Singh’s “I was born from this rupture, and I am the sickness from this separation”.

The character of Toba Tek Singh has his origin in Saadat Hasan Manto’s short story of the same name. Manto was a controversial fiction writer who voluntarily moved to Pakistan, fearing his own safety in the events taking place at the time of partition. The character Toba Tek Singh is an embodiment of the banality and rushed execution of partition as well as its mental impact on the citizens of the respective nations. By the end of the story Singh is homeless, stateless, and lifeless. Throughout his career Manto criticised partition, it’s effects, and the public reaction to it.

The film uses many thematic devices that serve to aid and enhance our understanding of the subtext. For example, the term ‘blood’ is likely to be one of the most populous in the screenplay, however, it’s definition is not static.

When we learn Zed’s blood is attacking him we are led to believe this is an illness triggered by his chance encounter with a supposed fan. Eventually, we come to understand ‘blood’ as referring to Zed’s lineage. The trauma which Zed’s dad internalises, lives with, and contributes to, is now present in Zed.

Bassam Tariq skilfully executes his and Riz’s combined vision. The use of handheld cameras, in numerous scenes, bring a sense of active participation and immediacy. The mise-en-scène is realistic, Tariq presents what could be the inside of any brown household, old qawwali cassettes galore, copious amounts of spices occupying the kitchen, riff raff and oddities from years gone by. Several scenes, many of which carry the atmospheric punch of David Lynch’s disorienting works, serve a purpose not to perpetuate the narrative, but provide insight into Zed’s mindset and inner struggle. These have a disconcerting aura, moving away from them is relieving.

By the end of the film, Zed and his father come full circle. Now, having faced their respective demons together, they see each other differently. Some have criticised the abrupt ending of the film. However, nothing can compare to the abruptness of the 15th of August 1947.

Rizwan Ahmed, and the director Bassam Tariq, explore the psyche of second and third-generation South Asian immigrants, bringing light and awareness to previously undiscussed issues. We were all born from the aforementioned rupture.