Ghazi (film) - Misplaced Pages

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106-446: Ghazi is a 2017 Indian war film written and directed by Sankalp Reddy . The film is produced in the Telugu film industry , and is shot simultaneously in Telugu and Hindi languages, with the latter titled The Ghazi Attack . The film stars Kay Kay Menon , Atul Kulkarni , Rana Daggubati , Taapsee Pannu and Satya Dev . The film grossed over ₹ 620 million (US$ 7.4 million) on

212-487: A military objective of some sort. They take place in the actual combat zones of World War II, against the established enemies, on the ground, the sea, or in the air. They contain many repeated events, such as mail call, all presented visually with appropriate uniforms , equipment, and iconography of battle. Further, Basinger considers Bataan to provide a definition-by-example of "the World War II combat film", in which

318-482: A "war propaganda film ". A 1978 Mondadori poll placed Alexander Nevsky among the world's 100 best motion pictures. Saare Jahaan Se Achcha " Sare Jahan se Accha " ( Urdu : سارے جہاں سے اچھا ; Sāre Jahāṉ se Acchā ), formally known as " Tarānah-e-Hindi " (Urdu: ترانۂ ہندی , "Anthem of the People of Hindustan "), is an Urdu language patriotic song for children written by poet Allama Muhammad Iqbal in

424-525: A British family on the home front; Edge of Darkness (1943) showed Norwegian resistance fighters, and The North Star (1943) showed the Soviet Union and its Communist Party . Towards the end of the war popular books provided higher quality and more serious stories for films such as Guadalcanal Diary (1943), Mervyn LeRoy 's Thirty Seconds Over Tokyo (1944), and John Ford 's They Were Expendable (1945). The Soviet Union, too, appreciated

530-632: A Japanese perspective. These "generally fail to explain the cause of the war". In the decades immediately after the Second World War, Japanese films often focused on human tragedy rather than combat, such as The Burmese Harp (1956) and Fires on the Plain (1959). From the late 1990s, films started to take a positive view of the war and of Japanese actions. These nationalistic films, including Pride (1998), Merdeka 17805 (2001), and The Truth about Nanjing (2007), have emphasized positive traits of

636-424: A Japanese soldier beheads an American: the victim shows pain and his lips freeze in a scream, yet no blood spurts and his head does not fall off. Basinger points out that while this is physically unrealistic, psychologically it may not have been. The wartime audience was, she points out, well aware of friends and relatives who had been killed or who had come home wounded. The Axis powers similarly made films during

742-423: A Western like Sam Peckinpah 's The Wild Bunch and "war-movie escapades" like The Dirty Dozen . The film historian Jeanine Basinger states that she began with a preconception of what the war film genre would be, namely that: What I knew in advance was what presumably every member of our culture would know about World War II combat films—that they contained a hero , a group of mixed types [of people], and

848-589: A budget of ₹ 150 million (US$ 1.8 million). Ghazi is inspired by the events from the sinking of PNS Ghazi during the Indo-Pakistani War of 1971 . The story is about a submarine of the Indian Navy , an executive naval officer and his team, who remained underwater for 18 days. It is about the valour of the crew aboard the Indian submarine INS Karanj (S21) , which according to Indian claims destroyed

954-477: A close second. The costliest war in U.S. history in terms of American life, this war has been the subject of, or the backdrop to, numerous films, documentaries and mini-series. One of the earliest films using the Civil War as its subject was D.W. Griffith 's 1910 silent picture, The Fugitive . Films that have the war as its main subject, or about a certain aspect of the war, include the 1989 film Glory , about

1060-414: A diverse and apparently unsuited group of "hastily assembled volunteers" hold off a much larger group of the enemy through their "bravery and tenacity". She argues that the combat film is not a subgenre but the only genuine kind of war film. Since she notes that there were in fact only five true combat films made during the Second World War, in her view these few films, central to the genre, are outweighed by

1166-513: A maximum depth of 250m. With very limited battery support, Arjun provokes Razak into attacking by transmitting his crew singing ' Saare Jahaan se Achchha ' and the Indian National Anthem . Riled up by S21's defiance, Razak orders another torpedo attack on S21 , for which Ghazi will have to turn by port 180 degrees (all the way around, so that the other side faces S21 ). Arjun dives into the flooded forward compartment to manually trigger

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1272-472: A powerful emotional impact. It was watched by some 20 million people in Britain in its six weeks of exhibition, making it what the critic Francine Stock called "one of the most successful films of all time". The 1925 American film The Big Parade depicted unglamorous elements of war: the protagonist loses his leg, and his friends are killed. William A. Wellman 's Wings (1927) showed aerial combat during

1378-528: A quiet Russian and an extrovert southerner from Odessa, singing in his dugout. The many Soviet films about the Second World War include both large-scale epics such as Yury Ozerov 's Battle of Moscow (1985) and Mikhail Kalatozov 's more psychological The Cranes are Flying (1957) on the cruel effects of war; it won the 1958 Palme d'Or at Cannes. Japanese directors have made popular films such as Submarine I-57 Will Not Surrender (1959), Battle of Okinawa (1971) and Japan's Longest Day (1967) from

1484-455: A share of ₹24.45 in India and ₹6.7 crore overseas. Renuka Vyavahare of The Times of India gave the film a rating of 3 out of 5 and said that, "While the visuals and special effects lack finesse, the film compensates for it with its riveting story. Despite the hitches, this underwater thriller is worth a watch." Shalini Langer of The Indian Express gave the film a rating of 1.5 out of 5 saying that

1590-597: A sonar signal of Ghazi . Singh believes that they should track down Ghazi and attack, while Arjun obstructs, reiterating his instructions. Singh then orders the ship's EXO , Lt. Commander Santosh Devraj, to conduct a drill and target Ghazi while doing so, despite Arjun's protests. They fire a torpedo , which misses Ghazi narrowly, thus alerting them of their presence. Aware of the enemy's presence, Razak orders his crew to head towards Visakhapatnam Port at full speed and to set up mines en route, planning to destroy S21 . S21 pursues Ghazi's path, but they realize at

1696-502: A traditional war film should have a hero, a group, and an objective, and that the group should contain "an Italian, a Jew, a cynical complainer from Brooklyn, a sharpshooter from the mountains, a midwesterner (nicknamed by his state, 'Iowa' or 'Dakota'), and a character who must be initiated in some way". Films based on real commando missions, like The Gift Horse (1952) based on the St. Nazaire Raid , and Ill Met by Moonlight (1956) based on

1802-455: Is Hindustan. contrasted significantly with the first stanza of Tarana-e-Milli (1910) reads: Chīn o-ʿArab hamārā, Hindūstāṉ hamārā Muslim haiṉ ham, wat̤an hai sārā jahāṉ hamārā Central Asia and Arabia are ours, Hindustan is ours We are Muslims, the whole world is our homeland. Iqbal's world view had now changed; it had become both global and Islamic. Instead of singing of Hindustan, "our homeland,"

1908-530: Is bolstered by the talent of a few capable actors. Its plot, however, is devoid of any mystery." Bollywood Hungama gave the film a rating of 3.5 out of 5 saying that the movie "is a gripping war drama that leaves a stunning impact." Divya Pal of News18 criticized the screenplay and direction of the film and gave the film a rating of 1.5 out of 5 saying that, "All in all, "The Ghazi Attack" is utterly disappointing." Authors at "The Reading Hook" featured this film in their list of best Bollywood War Movies ever made and

2014-501: Is composed by K . Visual Effects handled by Eva Motion Studios. The film stars Rana Daggubati and Taapsee Pannu in the lead along with Kay Kay Menon , Satyadev Kancharana , Atul Kulkarni , Ramanuj Dubey, Kunal Kaushik, Priyadarshi Pulikonda, Rahul Singh, Akshay Mittal, Malyaban Lahiri and Naren Yadav. Cinematography is done by Madhi , music composed by K , Visual Effects Supervisor Vasudeva R Enugala and editing by Sreeker Prasad . The film shooting started on 3 January 2016. It

2120-1061: Is kī, yih gulsitāṉ hamārā G̱ẖurbat meṉ hoṉ agar ham, rahtā hai dil wat̤an meṉ Samjho wuhīṉ hameṉ bhī dil ho jahāṉ hamārā Parbat wuh sab se ūṉchā, hamsāyah āsmāṉ kā Wuh santarī hamārā, wuh pāsbāṉ hamārā Godī meṉ kheltī haiṉ is kī hazāroṉ nadiyāṉ Guls̱ẖan hai jin ke dam se ras̱ẖk-i janāṉ hamārā Ai āb-i rūd-i Gangā! wuh din haiṉ yād tujh ko? Utrā tire kināre jab kārwāṉ hamārā Maẕhab nahīṉ sikhātā āpas meṉ bair rakhnā Hindī haiṉ ham, wat̤an hai Hindositāṉ hamārā Yūnān o-Miṣr o-Rūmā, sab miṭ ga'e jahāṉ se Ab tak magar hai bāqī, nām o-nis̱ẖaṉ hamārā Kuch bāt hai kih hastī, miṭtī nahīṉ hamārī Ṣadiyoṉ rahā hai dus̱ẖman daur-i zamāṉ hamārā Iqbāl! ko'ī maḥram apnā nahīṉ jahāṉ meṉ Maʿlūm kyā kisī ko dard-i nihāṉ hamārā! Better than

2226-601: Is not so sure to say that " Indian Navy sunk the PNS Ghazi on 3 December 1971 at the Vishakhapatnam harbour when then Captain Inder Singh of INS Rajput ordered the attack upon it". Because Indian Navy official Vice Admiral Gulab Mohanlal Hiranandani said in his book (Transition to Triumph: history of the indian navy, 1965-1975) "the truth about ghazi is unknown to many" and Pakistan Navy and neutral analysts believes

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2332-472: Is still operational, orders his crew to turn around to sink S21 . Arjun and Devraj plan to lure Ghazi within its range of firing, but a suspicious Razak orders Ghazi 's course to be changed at the last minute. Ghazi , now having the ability to attack S21 , fires six torpedoes, all of which are avoided by S21 through depth-changing maneuvers, much to Razak's frustration. S21 dives to 350m in order to slip from Ghazi 's sonar range despite being designed for

2438-502: The Ghazi might have sunk due to it mistakenly entering its own minefield and collided with one of the mines, which resulted in the violent underwater explosion. Historically sinking of german submarine U-864 remains the only incident in the history of naval warfare where one submarine sank another while both were submerged. Ghazi grossed a total of ₹ 62 crore (US$ 7.4 million) overall, including ₹ 55.3 crore (US$ 6.6 million), with

2544-480: The 65th Filmfare Awards South . In November 1971, India and Pakistan were on the verge of declaring war on each other as a result of the refugee crisis precipitated by the Pakistan Army under Operation Searchlight . The Indian Navy and RAW decipher a secret code sent from Pakistan to East Pakistan (modern-day Bangladesh ), relating to a possible attack on an Indian naval vessel. The Navy deduces that

2650-640: The Algerian War (1954–1956). It was shot on location as an Italo-Algerian co-production. It had the black and white newsreel style of Italian neorealism , and even-handedly depicts violence on both sides. It won various awards including Golden Lion at the Venice Film Festival . It was attacked by French critics and was for five years banned in France as well as Jamila, the Algerian (1958). Few films before

2756-459: The Battle of Stalingrad . Feature films made in the west during the war were subject to censorship and were not always realistic in nature. One of the first to attempt to represent violence, and which was praised at the time for "gritty realism", was Tay Garnett 's Bataan (1943). The depiction actually remained stylised. Jeanine Basinger gives as an example the "worst image for stark violence" when

2862-638: The Indonesian war of independence (1945–1949). Two other films about the same period portray the Indonesian equivalent of the Chinese Long March : Usmar Ismail 's Darah dan Doa ( The Long March , literally "Blood and Prayer", 1950) and Mereka Kembali ( They Return , 1975). Each of these films interprets the past from the perspective of its own time. The more recent Merdeka (Freedom) trilogy (2009–2011), starting with Merah Putih ("Red and White",

2968-678: The Mekong Delta during the Vietnam War. The film cuts to an (American) "helicopter-eye view", contrasting painfully with the human tenderness seen earlier. Dino Mustafić's Remake (2003), written by Zlatko Topčić , tells the parallel coming-of-age stories of a father living in Sarajevo during World War II and his son living through the Siege of Sarajevo during the Bosnian War . According to Topčić,

3074-550: The Pakistan Navy has dispatched PNS Ghazi , under Cmdr. Razak Khan, to the Bay of Bengal to confront Vikrant . Meanwhile, to divert the attention of the enemy, Ghazi torpedoes an Indian merchant ship. The attack is picked by S21 , which races to the scene. Noticing survivors in the wreckage, Arjun jumps into the sea and manages to rescue a girl child and a woman, both of whom are Bengali refugees. During surveillance, S21 acquires

3180-618: The Second World War came from Britain and combined the functions of documentary and propaganda. Films such as The Lion Has Wings and Target for Tonight were made under the control of the Films Division of the Ministry of Information. The British film industry began to combine documentary techniques with fictional stories in films like Noël Coward and David Lean 's In Which We Serve (1942)—"the most successful British film of

3286-830: The Western Desert of North Africa and the Pacific in the Second World War, Vietnam , or the Soviet–Afghan War ; and films set in specific domains of war, such as the infantry, the air, at sea, in submarines or at prisoner of war camps. The war film genre is not necessarily tightly defined: the American Film Institute , for example, speaks of "films to grapple with the Great War" without attempting to classify these. However, some directors and critics have offered at least tentative definitions. The director Sam Fuller defined

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3392-492: The battle of the Atlantic . Others, like The Dam Busters (1954), with its exciting tale of the inventor Barnes Wallis 's unorthodox bouncing bomb and its distinctive theme music , were true stories. The Dam Busters became the most popular film in Britain in 1955, and remained a favourite as of 2015 with a 100% score on Rotten Tomatoes , though, partly because it celebrated an "exclusively British [victory]", it failed in

3498-480: The genre by saying that "a war film's objective, no matter how personal or emotional, is to make a viewer feel war." John Belton identified four narrative elements of the war film within the context of Hollywood production: a) the suspension of civilian morality during times of war, b) primacy of collective goals over individual motivations, c) rivalry between men in predominantly male groups as well as marginalization and objectification of women, and d) depiction of

3604-503: The ghazal style of Urdu poetry . The poem was published in the weekly journal Ittehad on 16 August 1904. Publicly recited by Iqbal the following year at Government College, Lahore , British India (now in Pakistan ) it quickly became an anthem of opposition to the British Raj . The song, an ode to Hindustan —the land comprising present-day Bangladesh , India and Pakistan ,

3710-466: The 1950s and 1960s. War film production in the United Kingdom and United States reached its zenith in the mid-1950s. Its popularity in the United Kingdom was brought on by the critical and commercial success of Charles Frend 's The Cruel Sea (1953). Like others of the period, The Cruel Sea was based on a bestselling novel, in this case the former naval commander Nicholas Monsarrat 's story of

3816-642: The American Indian Wars of the 19th century were called war films in the time before the First World War. The critic Julian Smith argues, on the contrary, that the war film lacks the formal boundaries of a genre like the Western , but that in practice, "successful and influential" war films are about modern wars, in particular World War II, with the combination of mobile forces and mass killing. The film scholar Kathryn Kane points out some similarities between

3922-712: The American market. A large number of war films were made in the 1955–1958 period in particular. In 1957 alone, Bitter Victory , Count Five and Die , The Enemy Below , Ill Met by Moonlight , Men in War , The One That Got Away , and Seven Thunders , and the highly successful, critically acclaimed pictures The Bridge on the River Kwai (which won the Academy Award for Best Picture that year ) and Paths of Glory were released. Some, such as Bitter Victory , focused more on

4028-735: The Americans. Similarly, the country's films about the Korean War show victory without help from the Chinese. The film scholar Johannes Schönherr concludes that the purpose of these films is "to portray North Korea as a country under siege", and that since the U.S. and its "puppet" South Korea invaded the North once, they would do so again. Gillo Pontecorvo 's dramatic The Battle of Algiers (( Italian : La battaglia di Algeri ; Arabic : معركة الجزائر ; French : La Bataille d'Alger ), 1966) portrayed events in

4134-858: The Central Powers and the Allies produced war documentaries. The films were also used as propaganda in neutral countries like the United States. Among these was a film shot on the Eastern Front by official war photographer to the Central Powers, Albert K. Dawson : The Battle and Fall of Przemysl (1915), depicting the Siege of Przemyśl , disastrous for the Austrians, with incidents reenacted using soldiers as extras. The 1915 Australian film Within Our Gates (also known as Deeds that Won Gallipoli ) by Frank Harvey

4240-616: The Golden Mulberry at the Udine Far East Film Festival, but was criticised for its nationalistic sympathy with kamikaze pilots. The wartime authorities in both Britain and America produced a wide variety of documentary films. Their purposes included military training, advice to civilians, and encouragement to maintain security. Since these films often carried messages, they grade into propaganda. Similarly, commercially produced films often combined information, support for

4346-458: The Japanese military and contended that the Japanese were victims of post-war vindictiveness and viciousness. Such films have, however, been subject to protest for revisionism . The Eternal Zero (2013) narrates the tale of a Zero fighter pilot who is considered a coward by his comrades, as he returns alive from his missions. It broke the record takings for a Japanese live action film, and won

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4452-431: The Japanese state as one great family and the Japanese people as an "innocent, suffering, self-sacrificing people". Dower comments that the perversity of this image "is obvious: it is devoid of any recognition that, at every level, the Japanese also victimized others." According to Andrew Pulver of The Guardian , the public fascination with war films became an "obsession", with over 200 war films produced in each decade of

4558-528: The Maine Victims , Blanket-Tossing of a New Recruit , and Soldiers Washing Dishes . These non-combat films were accompanied by "reenactments" of fighting, such as of Theodore Roosevelt 's "Rough Riders" in action against the Spanish, staged in the United States. During the First World War, many films were made about life in the war. Topics included prisoners of war, covert operations, and military training. Both

4664-606: The Pakistani PNS Ghazi submarine when it ventured into Indian waters to destroy INS Vikrant on the shores of Visakhapatnam. The film was released theatrically on 17 February 2017 to widespread critical acclaim and did decent business. It was declared "hit" by Box Office India . The film later won the National Film Award for Best Feature Film in Telugu . It was also nominated for Best Film and Best Director at

4770-575: The Religious Community), which was composed in the same metre and rhyme scheme as "Saare Jahan Se Achcha", but which renounced much of the sentiment of the earlier song. The sixth stanza of "Saare Jahan Se Achcha" (1904), which is often quoted as proof of Iqbal's secular outlook: Maẕhab nahīṉ sikhātā āpas meṉ bair rakhnā Hindī haiṉ ham, wat̤an hai Hindūstāṉ hamārā Religion does not teach us to bear ill-will among ourselves We are of Hind , our homeland

4876-596: The Russian people to battle, actual fighting, Germans surrendering and dead, and atrocities including murdered children and hanged civilians. It won an Academy Award in 1943 for best documentary. Newsreel cameras were similarly rushed to Stalingrad early in 1943 to record "the spectacle which greeted the Russian soldiers"—the starvation of Russian prisoners of war in the Voropovono camp by the German Sixth Army , defeated in

4982-625: The Second Sino–Japanese War from 1937 onwards did war film become a serious genre in China, with nationalistic films such as Shi Dongshan 's Protect Our Land (1938). The Chinese Civil War, too, attracted films such as Cheng Yin 's From Victory to Victory (1952). A more humanistic film set in the same period is Xie Jin 's The Cradle (1979), while more recent large-scale commercial films include Lu Chuan 's City of Life and Death (2009). Chinese directors have repeatedly attempted to cover

5088-454: The Second World War, for propaganda and other purposes. In Germany, the army high command brought out Sieg im Westen ("Victory in the West", 1941). Other Nazi propaganda films had varied subjects, as with Kolberg (1945), which depicts stubborn Prussian resistance in the Siege of Kolberg (1807) to the invading French troops under Napoleon . The propaganda minister Joseph Goebbels chose

5194-519: The atrocities committed by the Japanese during the Nanjing Massacre (1937–1938), with films such as the political melodrama Massacre in Nanjing , Mou Tun Fei 's docudrama Black Sun: The Nanking Massacre , and the "contrived Sino–Japanese romance" Don't Cry, Nanking . Zhang Yimou 's epic Chinese film Flowers of War (2011), based on Geling Yan 's novel, portrays the violent events through

5300-643: The attempted invasion of the Russian city of Novgorod by the Teutonic Knights . By April 1939 the film had been seen by 23,000,000 people. In 1941 the director and three others were awarded the Stalin Prize for their contributions. The film features a musical score by the classical composer Sergei Prokofiev , considered by artists such as the composer André Previn the best ever written for cinema. Russell Merritt, writing in Film Quarterly , describes it as

5406-491: The best of popular Indonesian cinema". It was the first Indonesian film to become well known internationally. War has been the Soviet Union's cinema's major genre, becoming known indeed as the "cinema front", and its war films ranged from grim portrayals of atrocities to sentimental and even quietly subversive accounts. Leonid Lukov 's popular and "beautiful" Two Warriors (1943) depicted two stereotypical Soviet soldiers,

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5512-515: The capture of the German commander of Crete, inspired fictional adventure films such as The Guns of Navarone (1961), The Train (1964), and Where Eagles Dare (1968). These used the war as a backdrop for spectacular action. Darryl F. Zanuck produced the 178 minute documentary drama The Longest Day (1962), based on the first day of the D-Day landings , achieving commercial success and Oscars. It

5618-554: The colours of the flag of the new Indonesia), revisits the campaign for independence through the lives of a diverse group of cadets who become guerillas. Karya's November 1828 (1979) looks at Indonesia's struggle for independence through historical drama about the Java or Diponegoro War (1825–1830), though the colonial enemy was the same, the Dutch . Deanne Schultz considered it "a valuable interpretation" of Indonesian history that "embodies

5724-494: The comment that "for all its epic pretensions (as if epic were a matter of running time, tumescent music and earnest voice-over pronouncements), the movie works best as a bang-and-boom action picture". Steven Spielberg 's Saving Private Ryan (1998) uses hand-held camera, sound design, staging, and increased audio-visual detail to defamiliarise viewers accustomed to conventional combat films, so as to create what film historian Stuart Bender calls "reported realism", whether or not

5830-798: The common Japanese soldier as an individual and as a family man, and even enemy Chinese soldiers are presented as individuals, sometimes fighting bravely. Once war with the United States was declared, the Japanese conflict became known as the Pacific War . Japanese film critics worried that even with Western film techniques, their film output failed to represent native Japanese values. The historian John Dower found that Japanese wartime films had been largely forgotten, as "losers do not get reruns", yet they were so subtle and skilful that Frank Capra thought Chocolate and Soldiers unbeatable. Heroes were typically low-ranking officers, not samurai , calmly devoted to his men and his country. These films did not personalise

5936-654: The cost of authenticity. Although the 1918 Finnish Civil War between Whites and Reds remained a controversial topic a century later in Finland , many Finnish filmmakers have taken up the subject, often basing their work on a book. In 1957, Toivo Särkkä 's 1918 , based on Jarl Hemmer 's play and novel, was screened at the 7th Berlin International Film Festival . Recent films include Lauri Törhönen 's 2007 The Border , and Aku Louhimies 's 2008 Tears of April , based on Leena Lander 's novel. Perhaps

6042-486: The destructive impact of American military presence on village life. The violent action films Shiri (1999) and Joint Security Area (2000) presented North Korea in a favourable light. Films in North Korea were made by government film studios and had clear political messages. The first was My Home Village (1949), on the liberation of Korea from the Japanese, presented as the work of Kim Il Sung without help from

6148-401: The enemy and therefore lacked hatred, though Great Britain could figure as the "cultural enemy". For Japanese film-makers, war was not a cause but more like a natural disaster, and "what mattered was not whom one fought but how well". Asian enemies, especially the Chinese, were often portrayed as redeemable and even possible marriage partners. Japanese wartime films do not glorify war, but present

6254-503: The entire breadth of the war. Some films deal with the human aspects of the war, such as The Red Badge of Courage (1951), or Shenandoah (1965), on the tragedy that the war inflicted on the civilian population. Ken Burns 's The Civil War is the most-watched documentary in the history of PBS . The first war films come from the Spanish–American War of 1898. Short "actualities"—documentary film-clips—included Burial of

6360-400: The entire world, is our Hindustan, We are its nightingales, and it (is) our garden abode If we are in an alien place, the heart remains in the homeland, consider us too [to be] right there where our heart would be. That tallest mountain, that shade-sharer of the sky, It (is) our sentry, it (is) our watchman In its lap where frolic thousands of rivers, Whose vitality makes our garden

6466-528: The envy of Paradise. O the flowing waters of the Ganges , do you remember that day When our caravan first disembarked on your waterfront? Religion does not teach us to bear animosity among ourselves We are of Hind , our homeland is Hindustan. In a world in which ancient Greece , Egypt , and Rome have all vanished Our own attributes (name and sign) live on today. There is something about our existence for it doesn't get wiped Even though, for centuries,

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6572-507: The eyes of a 13-year-old girl. Many Indonesian films deal with the occupation of the archipelago by the Japanese during the Second World War. Teguh Karya 's Doea Tanda Mata ( Mementos , literally "Two Eye Marks", 1985) covers the limited nationalist resistance to Dutch colonial rule in the 1930s. A third group of films such as Enam Djam di Jogja ( Six Hours in Yogyakarta , 1951) and Serangan Fajar ( Attack at Dawn , 1983) covers

6678-512: The facts", yet imply that "their version is as good as the truth". For example, he calls the 2000 American film U-571 a "shameless deception" for pretending that a US warship had helped to win the Battle of the Atlantic—seven months before America entered the war. He is equally critical of Christopher Nolan 's 2017 film Dunkirk with its unhistorically empty beaches, low-level air combat over

6784-840: The fate of the principal characters". This in turn pushes combat scenes to the climactic ends of war films. Not all critics agree, either, that war films must be about 20th-century wars. James Clarke includes Edward Zwick 's Oscar-winning Glory (1990) among the war films he discusses in detail; it is set in the American Civil War , and he lists six other films about that war which he considers "notable". The screenwriter and scholar Eric R. Williams identifies war films as one of eleven super-genres in his screenwriters' taxonomy , claiming that all feature-length narrative films can be classified as belonging to one of them. The British military historian Antony Beevor "despair[s]" at how film-makers from America and Britain "play fast and loose with

6890-506: The fighting, the successful South Korean action film Piagol about leftist guerrilla atrocities encouraged other film-makers. The 1960s military government punished pro-communist film-makers and gave Grand Bell Awards to films with the strongest anti-communist message. The Taebaek Mountains (1994) dealt with leftists from the south who fought for the communists, while Silver Stallion (1991) and Spring in My Hometown (1998) showed

6996-810: The film Pearl Harbor 's US-biased portrayal of events is a compensation for technical assistance received from the US armed forces, noting that the premiere was held on board a U.S. Navy carrier. In another case, the U.S. Navy objected to elements of Crimson Tide , especially mutiny on board an American naval vessel, so the film was produced without their assistance. The film historian Jonathan Rayner observes that such films "have also clearly been intended to serve vital propagandist, recruitment and public relations functions". The first Chinese war films were newsreels like Battle of Wuhan (1911) and Battle of Shanghai (1913). Still in films such as Xu Xinfu 's Battle Exploits (1925), war featured mainly as background. Only with

7102-417: The film "could have been an engrossing crisis-at-sea drama but the film is so busy slaying Pakistanis that it loses sight of its core strengths." Prasanna D Zore of Rediff said that, "The Ghazi Attack is a riveting telling of a war story" and gave the film a rating of 4 out of 5. Saibal Chatterjee of NDTV gave the film a rating of 2.5 out of 5 saying that, "The Ghazi Attack delivers many a riveting moment and

7208-428: The first formal unit of the Union Army during the American Civil War to be made up entirely of Black volunteers. Some films such as Gettysburg focused on a single battle during the war, or even on a single incident, like the French short film La Rivière du Hibou ( An Occurrence at Owl Creek Bridge ) and Disney 's The Great Locomotive Chase (1956). Others like the 1993 miniseries North and South spanned

7314-405: The futility and inhumanity of battle, the effects of war on society, and the moral and human issues raised by war. War films are often categorized by their milieu, such as the Korean War ; the most popular subjects are the Second World War and the American Civil War . The stories told may be fiction , historical drama , or biographical . Critics have noted similarities between the Western and

7420-508: The greatest screenplay ever written for the motion-picture medium"; Richard Attenborough 's satirical anti-war musical comedy based on Joan Littlewood 's play of the same name, Oh! What a Lovely War (1969); Spielberg's 2011 war drama War Horse was based on Michael Morpurgo 's children's novel of the same name . Many of the films promoted as "documentaries" added context to authentic battlefield scenes by staging critical events, and invented episodes and dialog to enhance excitement at

7526-407: The historical subject as suitable for the worsening situation facing Nazi Germany when it was filmed from October 1943 to August 1944. At over eight million marks, using thousands of soldiers as extras and 100 railway wagonloads of salt to simulate snow, it was the most costly German film made during the war. The actual siege ended with the surrender of the town; in the film, the French generals abandon

7632-459: The land of Hindustan, expressed "cultural memory" and had an elegiac quality. In 1905, the 27-year-old Iqbal viewed the future society of the subcontinent as both a pluralistic and composite Hindu-Muslim culture. Later that year he left for Europe for a three-year sojourn that was to transform him into an Islamic philosopher and a visionary of a future Islamic society. In 1910, Iqbal wrote another song for children, " Tarana-e-Milli " (Anthem of

7738-411: The last moment that it is headed into mines. Singh and Arjun frantically attempt to change its course, but a mine explodes in the stern and damages most of the submarine's batteries, propellers, and circuits. The sub blows open many leaks, with the forward torpedo compartment flooded, crippling the sub and barring it from firing its forward torpedoes. Singh dies while trying to save Arjun, as S21 sinks to

7844-460: The last of the traditional war films, while the controversy around the help given by the U.S. Army and Zanuck's "disregard for Pentagon relations" changed the way that Hollywood and the Army collaborated. Zanuck, by then an executive at 20th Century Fox , set up an American–Japanese co-production for Richard Fleischer 's Tora! Tora! Tora! (1970) to depict what "really happened on December 7, 1941" in

7950-454: The late 1970s about the Vietnam War actually depicted combat; exceptions include The Green Berets (1968). Critics such as Basinger explain that Hollywood avoided the subject because of opposition to United States involvement in the Vietnam War , making the subject divisive; in addition, the film industry was in crisis, and the army did not wish to assist in making anti-war films. From

8056-798: The late 1970s, independently financed and produced films showed Hollywood that Vietnam could be treated in film. Successful but very different portrayals of the war in which America had been defeated included Michael Cimino 's The Deer Hunter (1978), and Francis Ford Coppola 's Apocalypse Now (1979). With the shift in American politics to the right in the 1980s, military success could again be shown in films such as Oliver Stone 's Platoon (1986), Stanley Kubrick 's Full Metal Jacket (1987) and John Irvin 's Hamburger Hill (1987). The Vietnamese director Nguyễn Hồng Sến [ vi ] 's The Abandoned Field: Free Fire Zone ( Cánh đồng hoang , 1979) gives an "unnerving and compelling .. subjective-camera-eye-view" of life under helicopter fire in

8162-535: The many other films that are only just war films. However, other critics such as Russell Earl Shain propose a far broader definition of war film, to include films that deal "with the roles of civilians, espionage agents, and soldiers in any of the aspects of war (i.e. preparation, cause, prevention, conduct, daily life, and consequences or aftermath.)" Neale points out that genres overlap, with combat scenes for different purposes in other types of film, and suggests that war films are characterised by combat which "determines

8268-528: The metaphor of hunting to criticise the aggressiveness of Spanish fascism . It won the Silver Bear for Best Director at the 16th Berlin International Film Festival in 1966. Ken Loach 's Land and Freedom ( Tierra y Libertad , 1995), loosely based on George Orwell 's Homage to Catalonia , follows a British communist through the war to reveal the painful contradictions within the anti-fascist Republican side. Samuel Fuller 's The Steel Helmet (1951)

8374-641: The most famous film about the Finnish Civil War is Edvin Laine 's 1968 Here, Beneath the North Star , based on the first two books of Väinö Linna 's Under the North Star trilogy; it describing the civil war from the losing side, Finland's Red Guards . The Spanish Civil War has attracted directors from different countries. Sam Wood 's For Whom the Bell Tolls (1943), based on Ernest Hemingway 's book of

8480-466: The mysterious circumstances of Ghazi's fate, with its sinking credited to the actions of INS Rajput . It also mentions that in the aftermath of Ghazi's sinking, India and Pakistan had declared war on each other , which would ultimately result in India's victory, Pakistan's surrender, and the creation of Bangladesh . PVP Cinema has produced the film. Karan Johar distributed the Hindi version. The music

8586-465: The popular Sands of Iwo Jima (1949) starring John Wayne . U.S. Marines considered Sands of Iwo Jima visually authentic, but found Lewis Milestone's Battle Cry (1955), with its attention to the lives of the men, the more realistic film. The formula for a successful war film consisted, according to Lawrence Suid, of a small group of ethnically diverse men; an unreasonable senior officer; cowards became heroic, or died. Jeanine Basinger suggests that

8692-507: The portrayal is genuinely more realistic. Jeanine Basinger notes that critics experienced it as "groundbreaking and anti-generic", with, in James Wolcott's words, a "desire to bury the cornball, recruiting poster legend of John Wayne: to get it right this time"; and that combat films have always been "grounded in the need to help an audience understand and accept war". Its success revived interest in World War II films. Others tried to portray

8798-474: The propaganda value of film, to publicise both victories and German atrocities. Ilya Kopalin's documentary Moscow Strikes Back ( Russian : Разгром немецких войск под Москвой , literally "The rout of the German troops near Moscow"), was made during the Battle of Moscow between October 1941 and January 1942. It depicted civilians helping to defend the city, the parade in Red Square and Stalin 's speech rousing

8904-456: The psychological battle between officers and egotism rather than events during the war. The Bridge on the River Kwai brought a new complexity to the war picture, with a sense of moral uncertainty surrounding war. By the end of the decade the "sense of shared achievement" which had been common in war films "began to evaporate", according to Pulver. Hollywood films in the 1950s and 1960s could display spectacular heroics or self-sacrifice, as in

9010-767: The reality of the war, as in Joseph Vilsmaier 's Stalingrad (1993), which The New York Times said "goes about as far as a movie can go in depicting modern warfare as a stomach-turning form of mass slaughter". Many war films have been produced with the cooperation of a nation's military forces. Since the Second World War, the United States Navy has provided ships and technical guidance for films such as Top Gun . The U.S. Air Force assisted with The Big Lift , Strategic Air Command and A Gathering of Eagles , which were filmed on Air Force bases; Air Force personnel appeared in many roles. Critics have argued that

9116-399: The reintegration of veterans. The fateful nature of battle scenes means that war films often end with them. The film critic Stephen Neale suggests that the genre is for the most part well defined and uncontentious, since war films are simply those about war being waged in the 20th century, with combat scenes central to the drama. However, Neale notes, films set in the American Civil War or

9222-588: The same name , portrays the fated romance between an American played by Gary Cooper and a partisan played by Ingrid Bergman against the backdrop of the civil war. The epic 168-minute film with its landscapes shot in Technicolor and a "beautiful" orchestral score was a success both with audiences and with critics. Alain Resnais 's Guernica (1950) uses Picasso 's 1937 painting of the same name to protest against war. Carlos Saura 's La Caza (The Hunt, 1966) uses

9328-510: The sea, and rescues mainly by the "little ships". Beevor feels, however, that Continental European film-makers are often "far more scrupulous"; for example, in his view the 2004 German film Downfall accurately depicted the historical events of Hitler's final days in his Berlin bunker, and he considers the 1965 French film The 317th Platoon , set in Vietnam, "the greatest war movie ever made". The 1966 film The Battle of Algiers is, he argues,

9434-468: The seabed. Arjun, now in command of the sub, regroups and works towards reviving S21 . They manage to clog the sub's leaks and pump the excess water out before holding a final farewell for Singh. The crew notices that the vessel is incapable of moving in any direction except upwards or downwards. Since they are unable to chase Ghazi , the crew artificially triggers one of the naval mines in its vicinity to lure Ghazi to their position. Razak, believing S21

9540-471: The siege. For Japan, the war began with the undeclared war and invasion of China in 1937 , which the Japanese authorities called "The China Incident". The government dispatched a "pen brigade" to write and film the action in China with "humanist values". Tomotaka Tasaka 's Mud and Soldiers (1939) for instance, shot on location in China, Kōzaburō Yoshimura 's Legend of Tank Commander Nishizumi , and Sato Takeshi 's Chocolate and Soldiers (1938) show

9646-455: The story is based on incidents from his own life. The Iraq War served as the background story of U.S. movies, like The Hurt Locker from 2008, Green Zone from 2010, and American Sniper from 2014. The War in Afghanistan since 2001 was depicted in various movies, among them Restrepo in 2010 and Lone Survivor from 2013. The first popular Allied war films made during

9752-1198: The subcontinent, an idea that inspired the creation of Pakistan. Saare Jahan se Accha has remained very popular, but only in India. An abridged version is sung and played frequently as a patriotic song and as a marching song of the Indian Armed Forces . The most popular musical composition is that of sitar maestro Ravi Shankar . سارے جہاں سے اچھا ہندوستاں ہمارا ہم بلبلیں ہیں اس کی، یہ گلستاں ہمارا غربت میں ہوں اگر ہم، رہتا ہے دل وطن میں سمجھو وہیں ہمیں بھی دل ہو جہاں ہمارا پربت وہ سب سے اونچا، ہمسایہ آسماں کا وہ سنتری ہمارا، وہ پاسباں ہمارا گودی میں کھیلتی ہیں اس کی ہزاروں ندیاں گلشن ہے جن کے دم سے رشکِ جناں ہمارا اے آبِ رودِ گنگا! وہ دن ہیں یاد تجھ کو؟ اترا ترے کنارے جب کارواں ہمارا مذہب نہیں سکھاتا آپس میں بیر رکھنا ہندی ہیں ہم، وطن ہے ہندوستاں ہمارا یونان و مصر و روما سب مٹ گئے جہاں سے اب تک مگر ہے باقی نام و نشاں ہمارا کچھ بات ہے کہ ہستی مٹتی نہیں ہماری صدیوں رہا ہے دشمن دورِ زماں ہمارا اقبال! کوئی محرم اپنا نہيں جہاں میں معلوم کیا کسی کو دردِ نہاں ہمارا! ‏ Sāre jahāṉ se acchā, Hindositāṉ hamārā Ham bulbuleṉ haiṉ

9858-531: The surprise attack on Pearl Harbor . The film, panned by Roger Ebert and The New York Times , was a major success in Japan. Its realistic-looking attack footage was reused in later films such as Midway (1976), The Final Countdown (1980), and Australia (2008). The story was revisited in Pearl Harbor (2001), described by The New York Times as a "noisy, expensive and very long new blockbuster", with

9964-552: The target may be INS Vikrant , India's sole aircraft carrier. The top command dispatches the submarine S21 , under the command of Captain Ran Vijay Singh, for reconnaissance missions. To temper Singh's belligerent tendencies, the Indian Navy Admiral assigns Lt.Cmdr Arjun Varma to S21 , with orders to ensure that Singh does not confront any Pakistani warships and trigger a war. The Navy's top command soon learns that

10070-474: The time-cycle of the world has been our enemy. Iqbal! We have no confidant in this world What does any one know of our hidden pain? Iqbal was a lecturer at the Government College, Lahore at that time, and was invited by a student Lala Har Dayal to preside over a function. Instead of delivering a speech, Iqbal sang "Saare Jahan Se Achcha". The song, in addition to embodying yearning and attachment to

10176-429: The torpedoes, successfully managing to do so. Ghazi also launches its torpedo at the same time. The torpedo launched by Ghazi misses S21 narrowly, but it is hit by S21 's torpedo and disintegrates in the water, killing the entire crew. S21 surfaces, and the crew manages to save Arjun from the flooded compartment in the nick of time. S21 is later saved by a patrolling Indian Navy vessel. The ending titles narrate

10282-509: The war and was made in cooperation with the Army Air Corps. It proved a powerful recruiting tool. It became the first film (in any genre) to be awarded an Oscar for best picture. Later films of varied genres that deal with the First World War include David Lean 's "colossal epic", both war film and biopic Lawrence of Arabia (1962), shot in the then unfamiliar and exciting 70mm Technicolor , and described by Steven Spielberg as "maybe

10388-493: The war effort, and a degree of propaganda. Newsreels , ostensibly simply for information, were made in both Allied and Axis countries, and were often dramatised. More recently, in the Iran–Iraq War , Morteza Avini 's Ravayat-e Fath (Chronicles of Victory) television series combined front-line footage with commentary. Sergei Eisenstein 's 1938 historical drama Alexander Nevsky depicts Prince Alexander 's defeat of

10494-497: The war film genre and the Western. Both genres use opposing concepts like war and peace, civilization and savagery. War films usually frame World War II as a conflict between "good" and "evil" as represented by the Allied forces and Nazi Germany whereas the Western portrays the conflict between civilized settlers and the savage indigenous peoples. James Clarke notes the similarity between

10600-403: The war film. Nations such as China, Indonesia, Japan, and Russia have their own traditions of war film, centred on their own revolutionary wars but taking varied forms, from action and historical drama to wartime romance. Subgenres, not necessarily distinct, include anti-war , comedy , propaganda , and documentary . There are similarly subgenres of the war film in specific theatres such as

10706-686: The war years" — Millions Like Us (1943), and The Way Ahead (1944). In America, documentaries were produced in various ways: General Marshall commissioned the Why We Fight propaganda series from Frank Capra; the War Department's Information-Education Division started out making training films for the U.S. Air Force and U.S. Navy; the Army made its own through the U.S. Signal Corps, including John Huston 's The Battle of San Pietro . Hollywood made films with propaganda messages about America's allies, such as Mrs. Miniver (1942), which portrayed

10812-574: Was described by the Motion Picture News as "a really good war story, which is exceptional". The 1916 British film The Battle of the Somme , by two official cinematographers, Geoffrey Malins and John McDowell, combined documentary and propaganda, seeking to give the public an impression of what trench warfare was like. Much of the film was shot on location at the Western Front in France; it had

10918-549: Was followed by large-scale but thoughtful films like Andrei Tarkovsky 's Ivan's Childhood (1962), and quasi- documentary all-star epics filmed in Europe such as Battle of the Bulge (1965), Battle of Britain (1969), The Battle of Neretva (1969), Midway (1976), and A Bridge Too Far (1977). In Lawrence Suid's view, The Longest Day "served as the model for all subsequent combat spectaculars". However, its cost also made it

11024-640: Was later published in 1924 in the Urdu book Bang-i-Dara . By 1910, Iqbal's worldview had changed to become global and Islamic. In a new song for children, "Tarana-e-Milli," written in the same metre, he changed the homeland from "Hindustan" to the "whole world." In 1930, in his presidential address to the Muslim League annual conference in Allahabad, he supported a separate nation-state in the Muslim-majority areas of

11130-503: Was made during the Korean War (1950–1953). The critic Guy Westwell notes that it questioned the conduct of the war, as did later films like The Bridges at Toko-Ri (1954) and Pork Chop Hill (1959). Fuller agreed that all his films were anti-war. No Hollywood films about the Korean War did well at the box office; the historian Lary May suggested in 2001 that they reminded American viewers of "the only war we have lost". In 1955, after

11236-443: Was positively accepted by their readers." War film War film is a film genre concerned with warfare , typically about naval , air , or land battles, with combat scenes central to the drama. It has been strongly associated with the 20th century. The fateful nature of battle scenes means that war films often end with them. Themes explored include combat , survival and escape, camaraderie between soldiers , sacrifice,

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