War Chhod Na Yaar (“Let’s Forsake War“) is neither as good nor as bad as it could have been. Given that the movie is a comedy about a war between India and Pakistan, the fact that it’s not a disaster is something of a success in its own right.
War Chhod Na Yaar (WCNY, henceforth) avoids many potential pitfalls by laying blame for the ongoing hostilities between India and Pakistan far up the chain, and not at the feet of the soldiers on the front lines. The film blames politicians hungry for votes, foreign powers hungry for money, and news outlets hungry for sensational headlines.
The action takes place primarily at a pair of army outposts along the border. The soldiers on opposite sides of the barbed wire fence exist under an informal truce built on the playfully contentious friendship between Indian Captain Raj (Sharman Joshi) and Pakistani Captain Qureshi (Javed Jaffrey), who secretly meet at night to play cards.
Their peace is threatened when the Indian Defense Minister (Dalip Tahil) reveals to a reporter, Rut (Soha Ali Khan), that war will break out in two days time. They travel to the Indian outpost where the minister enlists Rut’s help in creating a propaganda video to be released after the fighting begins. The minister quickly gets out of Dodge, but Rut stays to find out what life is really like for the soldiers. She and Raj fall in love in the process.
Many of the jokes come at the expense of the Pakistani Army, who are portrayed as bumbling due to chronic malnourishment. The leader of the Pakistani troops, Commander Khan (Sanjai Mishra), is supposed to be played for laughs, but his character isn’t well-defined enough to really be funny. He’s a collection of character flaws rather than a character with flaws.
Another problem is that many of the jokes rely on Hindi wordplay and rhymes, and they don’t survive the translation into English. Likewise, certain jokes rely on regional and cultural knowledge that international audiences lack.
Joshi and Jaffrey are charming as the friendly officers, but Khan doesn’t pull off the reporter role. The soldiers from two hostile countries engage in a singing competition, but Rut doesn’t find it newsworthy enough to record with her video camera.
Tahil plays not only the Indian Defense Minister, but the defense minister from Pakistan, America, and China. The Chinese defense minister would’ve been recognizable in his army uniform and Chairman Mao hairstyle, so I could’ve done without the potentially offensive eye makeup. (And why are the Chinese minister’s two bodyguards African?) But Tahil is pretty funny as the American defense chief, who’s clearly modeled on George W. Bush.
WCNY portrays China and America as pitting India and Pakistan against each other in a proxy war. The U.S. gets off relatively easy under accusations of profiteering. China, on the other hand, is repeatedly criticized for flooding India and Pakistan with cheaply made products. The Pakistani army is so ineffective because all of their Chinese-made weapons are defective.
WCNY falls prey to a common mistake: over-explaining things rather than trusting the audience to interpret events for themselves. When the predetermined nature of the war is revealed on Rut’s cable news network, the film cuts to reaction shots of ordinary citizens as they take to the streets in outrage.
All the movie needs to show is the ruse revealed. The audience can figure out what would come next. The movie doesn’t need to show man-on-the-street interviews of random people saying how bad corruption is. We know it is!
I doubt that WCNY will inspire many other filmmakers to tread the tricky ground of India’s ongoing tension with Pakistan, but it does show that it’s possible to do so without being offensive. Now the trick is to make it funny.
I’m stunned that War Chhod Na Yaar is opening in the Chicago area on October 11, 2013. The movie wasn’t promoted in local theaters, and with mid-tier stars like Sharman Joshi and Soha Ali Khan in leading roles, I never expected WCNY to open here. Something tells me Besharam‘s poor box office performance may have had something to do with it.
To put Besharam‘s disappointing box office performance in perspective, we can look at the amount it earned per screen in its opening weekend in the United States. Besharam opened in 217 theaters — a very high number for a Bollywood film in the U.S. — and earned $389,000 from Friday to Sunday, for an average of $1,793 per screen. (Including Wednesday and Thursday returns, Besharam‘s total stood at $504,000 as of Sunday.) By comparison, here’s what other recent releases earned per screen in their opening weekends:
Through its fourth week in theaters, Chennai Express continued to earn more per screen than Besharam did in its opening weekend. Nevertheless, Besharam carries over at all three of the above theaters, plus the Regal Gardens Stadium 1-6 in Skokie and AMC Loews Woodridge 18 in Woodridge.