Representation of interpersonal communication between ...xajzkjdx.cn/gallery/24-feb2020.pdf ·...

Representation of interpersonal communication between father

and son in Hindi film

Ritabrata Mitra

Department: Mass Communication (Filmmaking)

Abstract

This research studies the qualitative analysis of communication in popular Hindi movies and

their depiction of crisis communication in visual narrative.

The researcher has evaluated Hindi film “Gardish” and its representation of interpersonal

communication between father and son through socio, political and economic scenario in the

film.

The research reveals that how the director in his visual narrative has tried to portray

interpersonal communication in crisis situation.

The research focuses study or investigate the reciprocal relationships between: a) the son-

father relationship experience; b) emotional expression of feelings

Introduction

Cinema: Definition and understanding:

Cinema is such a terminology for an artform of moving images that cannot be defined in a

way that would cover all the aspects that it covers. Yet, the dictionary meaning for cinema

which is a very watered down version of the term is movies, or the art or business of making

movies

Now here arises the subtle, yet distinctive difference between the widely used terms of film,

movie and cinema.

Movie is applied to commercial cinema aimed at a large viewing audience, in hopes of

making a profit. It is the art of making motion pictures. It is the process of making a film

based on actors, script, dialogues, sound, music, etc. Comedy, action, suspense, thriller, scary

movies.

Film is a story or event recorded by a camera as a set of moving images and shown in a

cinema or on television.

When we set out to define cinema in terms of its etymology the word can be dissected and

understood in the following manner.

Borrowed from French cinéma, shortening of cinématographe (term coined by the Lumière

brothers in the 1890s), from Ancient Greek κίνημα (kínēma, “movement”) + Ancient Greek -

γράφειν (-gráphein, “write(record)”).

In Spite of its numerous definitions cinema is an ever evolving term that is actively linked in

socio political and economic conditions in which the films are being made. To understand

Journal of Xi'an University of Architecture & Technology

Volume XII, Issue II, 2020

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cinema takes more than understanding the process and output of films but also to study the

communication that takes place actively on screen and with the audience.

Significance of Cinema:

Cinema, since its origin has turned from a mere attractive spectacle to a very integral part of

society’s functioning. Starting from the first show of Lumiere brothers’s a Sortie de l'usine

Lumière à Lyon (literally, "the exit from the Lumière factory in Lyon", or, under its more

common English title, Workers Leaving the Lumiere Factory), to the innumerable movies

now made across the world, cinema has been a major fascination for the society that has

taken its inspiration from the society.

Cinema is the most complex and powerful art form in the present world. It can help us to

better understand our own lives, the lives of those around us and even how our society and

culture operate. They can shed light on political and spiritual matters too and can provide

catharsis and perspective and may open our eyes to new ways of thinking, feeling and

pursuing our lives.

Due to its nature of creating social images and publicising it back to the society, cinema

actively lives as the voice of filmmakers who paint their views very influentially onto the

minds of people. Just like other artists, painters and scholars, filmmakers create the record of

the social mind-set in a particular time period through cinema.

Cinema creates a shared experience among the people who pay money to watch moving

images

Cinema as communication

What is communication?

The term "communication" has been derived from the Latin "communis," that means

"common". Thus "to communicate" means "to make common" or "to make known", "to

share" and includes verbal, non-verbal and electronic means of human interaction.

To understand commonness we need to understand ‘Sadharanikaran’ model of

communication. The term Sadharanikaran is derived from Sanskrit word ‘Sadharan’ and been

translated into English as ‘Generalized’ presentation.

This concept is bound with another concept, ‘Sahridayata’ which means state of common

orientation, commonality or oneness.

When senders and receivers accomplish the process of sadharnikaran, they attain sahridayata

and become sahridayas.

Sadharanikaran Model:

The Sadharanikaran of communication illustrates how the communicating parties interact in a

system for attainment of saharidayata.

The model compromises of following elements: -

Sahridayas – Preshaka i.e. Sender and Prepaka i.e. receiver

Bhava – Mood or Emotion



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Abhivyanjana – Expression or Encoding

Sandesha – Message or Information

Sarani – Channel

Rasawandana – Firstly receiving and decoding and interpreting the message and

finally achieving the rasa

Dohas – Noises

Sandarbha – Context

Pratikriya – Process of feedback

Sadharanikaran has its roots in Bharat Muni’s Natyashastra and is identified with

Bhattnayaka. This way of communicating certainly emphasizes more on internal or

intrapersonal activity.

Bharat’s Natya Shastra is believed to be the first work that discusses the form of Rasa

process. The poetry or drama aims at triggering Sthai Bhava that is inherent in a human being

at birth through the interplay of Vibhav, Anubhav and Sanchari Bhav thus leading to Rasa

formation.

There are total 49 moods or bhavas from which eight are permanent mood or sthayee bhav,

thirty three secondary mood or Vyabhichari bhav and remaining called wholesome mood or

satwik bhav.1

There are total 49 moods or bhavas from which eight are permanent mood or sthayee bhav,

thirty three secondary mood or Vyabhichari bhav and remaining called wholesome mood or

satwik bhav2.

Different Bhavas

Permanent or Sthai Bhav (8)

Permanent Mood – Corresponding

Or

Sthai bhav – Rasa

Rati (love) – Shringar

Hasa (nirth) – Hasya

Shok (grief) – Karana

Krodh (anger) – Raudra

Utsaha he – Veer

Bhaya (fear) – Bhayanak

Jugupsa – Bhibhatsa

1 Chapter V - AN INTRODUCTION TO SADHARANIKARANhttps://shodhganga.inflibnet.ac.in/bitstream/10603/88856/6/chapter%205.pdf 2 Chapter V - AN INTRODUCTION TO SADHARANIKARANhttps://shodhganga.inflibnet.ac.in/bitstream/10603/88856/6/chapter%205.pdf



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Vismaya (wonder) – Adbhut

Vyabhichari bhav (33)

Nirveda, Vridness, Amarsha, Glani, Chapalta, Gvapitana, Shanka, Harsha, Ugrata, Asuya

Avega, Mati, Stama, Garra, Unmada, Alasya, Vishada, Marana, Dianya, Autsukya, Trasa,

Chinta, Nirada, Vitarka, Moha, Apasamara, Smrti, Supta, Dhrti, Vibhoda

Satwik Bhav (8)

Sthamba

Sveda

Romanch

Svarbheda

Vepathu

Vaivasnya

Asru

Pralay

What is Crisis?

Cambridge dictionary defines crisis as

“A time of great disagreement, confusion, or suffering”

“An extremely difficult or dangerous point in a situation” 3

Interpersonal Communication:

This is defined as communication between two or more people and involves the transfer of

information (or message) from one person to the other(s). The person transferring the

information is called the sender or transmitter. The people receiving the message are known

as receivers. The transmitter will need to send the information in a format that the receiver(s)

will understand. Converting the information into a format that the receivers will understand is

known as Encoding.

Messages can be encoded into a variety of formats oral, written or visual. After encoding the

message is transferred via a medium called a channel, for example a letter, fax, phone call, e-

mail or face to face. After transference the information will need to be interpreted by the

receiver. This process of interpretation is known as decoding. Finally the receiver will send a

message back to the transmitter confirming whether the information sent has been

understood. This back check is known as feedback4.

Interpersonal Communication between father and son relationship: -

Interpersonal communication is an important aspect to any relationship. To understand

interpersonal communication in film we need evaluate what characters think of each other,

how they generally behave with each other and also how and what they feel about their

relationship.

3 Cambridge Dictionary - https://dictionary.cambridge.org/dictionary/english/crisis 4 C. E. Shannon, A Mathematical Theory of Communication, ο.π



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https://dictionary.cambridge.org/dictionary/english/crisis

Communication not only reflects what kind of relationship two characters are having but also

defines it.

In many Hindi movies we have seen different approach by different filmmakers to portray

father-son relationship onscreen. To understand the communication and crisis in between two

we need to understand their relationship because father significantly influences his son’s

social development, adjustment and identification throughout his childhood and adolescence.

The relationship between father and son has always fascinated the researcher. As topic is on

crisis communication the researcher thought to analyse and study the portrayal of father-son

relationship in Hindi cinema. Fathers in Hindi cinema perhaps the most complex and intricate

of all the characters. They can be loving, fun, friendly and can also be strict, protective and

scary. Many interesting movies that portray the various dimension of father-son relationship.

Hence this paper is an effort to see how Hindi movies project relationship between father-son

and also creating and getting resolution to crisis of interpersonal communication between

them.

Objective:

The Phenomenal Characteristics between Father-Son Relationships

To understand the phenomena of this relationship the researcher need to form of a set of

questions, from which to excavate meaning relevant to the stated domain topics:

a) Impact of society in building father-son relationship

b) Do imposing fathers dream to sons life

c) Conflict of thoughts between father and son

Methodology:

For this study the researcher has used a combination of content analysis and survey. Through

the content analysis film Gardish, the researcher is trying to see portrayal of conflict of

interpersonal communication between father and son.

Through survey the researcher is trying to find out the understanding of viewer’s perspective

of father-son relationship. A questionnaire has been prepared for gathering further

information.

Questionnaire:

Question on the basis of film Gardish

The researcher is trying to find out the conflict of thoughts between father and son through

film Gardish.

1) Purushottam's expectations with shiva of becoming a police officer were right?

A) yes B) no C) don't know

2) Purushottam 's protective nature for shiva become his enemy?

A) yes B) no C) can't say



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3) Was Purushottam's struggle for shiva justified?


4) Was Purushottam a good father?

A) Yes B) no C) can't say

5) Is it compulsory for a son to fulfil his father's dream?

A) yes B) no 3) can't say

6) Is it a good idea to pursue our own father's profession?

A) Yes B) No C) don't know

7) Who was responsible for shiva becoming ruffian?

A) His fathers rule

B) shiva's own choice

C)miss-communication between father and son

D) can't say

8) Was Shiva's role justified as a son?


9) Is it the duty of a son to fulfil fathers dream


10) Do u agree Gardish is a story of the father-son conflict of morality?


Observations and Findings: -

Plot and Summary:

While Purshottam Sathe dreams of his son fighting crime as a Police Officer, he inadvertently

puts him amidst crime and criminals when Sathe, after having transferred to Kala Chowk

Police Station as a “punishment” for arresting an MLA’s son, ends up getting beaten up by

Billa. Vidya, who is in love with Shiva and engaged to get married to him, watches his

character transformation from hero to an anti-hero, a person she doesn’t want to associate

with. Although, Shiva avenges his father’s humiliation by beating up and severely injuring

Billa Jilani, it completely overhauls his plans for the future, putting at the wrong side of the

Police Station bars.

Gardish (1993), show the community participating in the fights between the hero and the

villain as mute spectators. This is an absolutely new and frightening aspect of ‘mass’ culture

that cinema has internalized. The spectators are mute and will not interfere or intervene, or

even give evidence later. They watch within the frame and magnify the terror of the violence

that is being experienced. Their very passivity is a background against which physical

violence stands out in stark contrast5.

Character-Sketch

PUROSHOTTAM (AMRISH PURI):

Puroshottam is the character of the father played by Amrish Puri in the film. The father is the

head of the family (55+) and is the only source of income. He is a man of rules as is a senior

sergeant in the police department. Coming from a middle class background, he has some high

expectations from his son, whom he wants to be a police inspector. This is his only dream for

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his son. A man of rules, who is more serious about his duty in the police department, itself

makes him an angry father. But he also loves his kids and is not that expressible towards

them. He speaks more often to his wife, which shows that there is a love bond and connection

between them. As the story is set in the times of the 80’s, the orthodox culture can be seen,

according to which the father expects his son to fulfil his dream, and not even for once is

asked about his own dreams and future plans. The relationship of the father with his son is

more of an authoritarian relationship, where the father is the authority and the son has to

follow whatever he’s been asked to. The son does not speak much to his father and there is

always the mother present to convey his talks to his father, which gives an exact example of

dictatorship. Even in the morality sense, the character of the father is defined as more of a

boss, rather than a father figure, who is attached to his family. It’s more like that his only aim

is towards his son falling onto his expectations and he is not bothered about anything else.

SHIVA (JACKIE SHROFF):

Shiva is the character of the Son, played by Jackie Shroff in the film. The son is a law student

and is in his late 20’s. He is more of a quiet and a studious guy. As he belongs to a middle

class family, he is more concentrated towards his law studies, while his friends are all

involved in all other activities. As shiva has to fulfil his father’s dream, of becoming a police

inspector, and that’s why he has been admitted to a law college. There he falls in love with a

girl. He is more of a shy person. He is afraid of his father. He is more close to his mother, as

he thinks she loves him more than his father. Due to the society ideology, he is trying his best

to cover up what his father has thought for him. His character shows that he is not that much

interested in fulfilling his father’s dream, but due to the pressure, he somehow is trying to

come up to his father’s expectations. He is more of a free man, who loves to spend his time

with friends. But when he is at home, he has to follow all the rules made by his father. He is

aware that the financial condition of the family is not that strong, and so he keeps his desires

to himself. He is also loved by his younger sister. Also his power is his family and for them

he is willing to fight the don of the area. Fulfilling his father’s dream, his life journey goes

onto some other path, where he is declared as a don by the people and also he loses his

father’s respect. He is seen running from his reality and taking up an identity given by the

society, which he is not ready to accept. Moreover, his life becomes miserable and he is just

following what the life is taking him through. He has to leave his home and hide from the

don. Fulfilling the expectations of his father, his life totally changes, and by the end he

considers the father and the people responsible for his criminal character.

Content and Dialogue Analysis:

The first scene of the movie i.e. 01:56 secs to 02:42secs is a dream sequence where

Purushottam dreams of his son Shiva becoming a police officer. Hence it establishes the

dream of the father very clearly.

Scene 2 Shiva sleeping at his home and father arrives after his night shift. His sister comes to

wake up Shiva as their father has come back from office. While conversing with sister Shiva

mention that “mera bas chalet toh in policewalon ko 24 ghantey duty pe rakhon”. It gives a

slight hint of Shiva’s thought towards that filed.



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In the same scene when Purushottam explains to his wife that his son will be different and

most dynamic police officer. This clearly gives an idea of Purushottam’s dream and how the

whole family has accepted his dream for Shiva.

04:19secs Purushottam says, “meri toh ek hi tammna hain, ki yeh police inspector ban jaye

aur main aur main retire hone se phele isse salute kar saku”

06:00secs Shiva comes to meet his father at police station to get money. Purushottam not

only gives him the required money but also gives his some extra money as his pocket money.

In the same scene 06:45sces Purushottam’s dream of seeing his son as a police inspector

drives him to that extend where he crosses his morality of being a cop and places his bosses

cap at his son’s head to see how Shiva will look as a future inspector. This scene clearly

signifies the determination of a fathers dream.

36:41sces where Shiva comes back from interview and get see the whole family shifting.

Purushottam tells Shiva “aisa hi hota hain. Ek baar bharti ho jao sab pata chal jayega…“.

During the conversation between them we get see Puroshottam holding a heavy trunk in his

hand and there’s a reflection of Puroshottam in a mirror behind him. This establishes

Puroshottam is only bread earner in the family and also somewhere his morality of cop

overshadowing the father.

In the same scene when mother comes crying and Shiva asks for the reason Puroshottam

replies that she’s crying as they need to leave the place. At the same time Puroshottam

consoles his wife by saying, “Bhagwan ab toh khush ho ja, tera inspector beta tere samne

khara hain”. This clearly defines Shiva is just not a beta (son) he is an inspector beta.

45:45secs we see Billa Jalani’s people beating up a guy in the market. The cops are also there

but nobody is doing anything nor they opposing. Looking at the situation Purushottam who’s

an honest and brave cop tries to stop the goons and arrest them. But Billa Jalani comes and

stat beating up Purushottam. In the meanwhile Shiva comes back from an interview and sees

his father getting beaten up by Billa. He gets into the fight to save his father. In that action he

almost kills Billa.

01:01:50 secs when Shiva comes back after the settlement of the whole incident. While Shiva

was expressing his thought about the incident to his mother, Purushottam’s first dialogue was

“tumhe kanoon ko apne hath main nahi lena chahiye tha”. He further explain he was doing

his duty and even if had died while doing his duty it would had been his fate. To that Shiva

replies, “main bhi ek bete ka duty nibha raha tha” (I was also doing duty of a son). This

whole scene establishes the crisis in interpersonal communication between father and son.

Father’s aspiration, dream for his son and son’s aspiration of father’s understanding him is

not there. To the dialogue of Shiva “maine jo kiya who har beta karta” Purushottam replies “

yeh bolo ki har bewokuf beta wohi karta”. Further he also explains that the future of the

whole family is dependent on him. Even if he dies while serving he can die peacefully

knowing the fact that his son is there. This also shows the fear of a middle class father, who’s

worried about his family.

“Shiva tum humari umeed ho, humara sapna ho, humara bhabisya ho. Agar tumhara naam

criminal record main agaya toh humari sari umeed o par pani phir jayega. Hum tumhe ek

police officer bante huye kabhi nahi dekh payenge. Kya tum yeh sab bhul gaye.” To which

Shiva replies to his father he haven’t forgot anything but at that situation he couldn’t control



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his emotions. Here we see the conflict between a middle class father who wants to fulfil his

aspiration through his son and son who wants his father to understand his emotions. Also

father is dominated or overshadowed with the morality of cop he his carrying. The father

who’s supposed to be with his son at this stage, understand him and his emotions is missing.

01:09:32secs Purushottam to Shiva “kanha se awaragardi karke a rahe ho. Dekho

Shiva….main aur musibaat mod nahi lena chahta…do char din ghar pe raho, aur agar kahin

bahar jana ho toh apne jeeje ya koi dost ko leke bahar jao…..samjhey….” and asks his wife to

make Shiva understand about it. This scene reflects the father’s insecurity and lack of trust in

his son. On which Shiva keeps silence though his expression asks his father to understand his

emotional turmoil.

01:18:10 secs Shiva comes back home in the morning after an eventful night. Purushottam

waiting for his son in anger.

Purushottam to Shiva: “Shiva…kanha the raat bhar…?”

Shiva: “haspatal main”

Purushottam: “usse phele…?”…Shiva keeps quite…Purushottam continues “daru ke adde

peg aye the..?”

Shiva: “gaya toh tha”

Purushottam: “wahan sharab pee…?”

Shiva: “hmm..nahi…”

Purushottam: “danga kya..?”

Shiva: “..nahi…”

To it Purushottam slaps Shiva. Mothers comes running to protect her son.

Purushottam: “isne doston ke saath sharab pee hain…danga kya hain. Sawant ka beta

haspatal main dakhil karwaya kya gaya hain.”

To this statement of father when Shiva tries to explain and clarify the truth to his mother,

Purushottam states, “tumhe batane ki koi zaroorat nahi hain. Sari basti jaanti hain, unhone

bataya ki mere bete ne kya kya karname ki hain. Toh mare fakar ke meri chati ful gayi” to

which his mother tries to convince his husband that people keeps exaggerate things and

spread rumours. To this Purushottam replies “Jhoot tumhara beta bol raha hain, ab iska koi

bharosha nahi raha. Mawali ban gaya hain yeh”

For the first time we see Shiva who’s an obedient son raises his voice to his father’s

statement “main sach kaheta hoon toh aap mujhe pe biswas nahi karte. Ab samajh main aya

ki logo ke sath sath aap ke dil main meri tasveer badalte ja rahi hain….”

This whole scene portrays the lack of trust and communication barrier between father and

son. Also societies impact on their relationship.

Shiva beats his jijaji and local goon kali for taking protection money from the common

people. To which his father scolds him for taking law in his own hand. Before that also the

police inspector warns Shiva that he won’t let another Billa to evolve in the society. At



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01:24:25secs Purushottam states Shiva, “gundo ke liye is ghar main koi jagha nahi hain…”

and also mentions that he has other children too and he needs to think for their future. He

asks Shiva “tum phele yeh batao ki tum kis kisam ki zindegi bitana chahate ho, ek gundey ki

ya achey nagrik ki….?” In this conversation where father asking the son to choose what kind

of life his son wants to lead being a goon or a good, law abiding citizen portrays the missing

son. In the conversation when father asks to son gives choice to son to decide whether he

wants to be a good citizen and then only he is allowed to stay back in home. But the question

arise where is the son? The scene clearly showcase the conflict of the morality of a cop and a

son. Son’s expectation and father’s expectation aren’t matching with each other. Hence which

is creating a conflict in their interpersonal communication.

01:41:32secs Purushottam takes out his frustration on Shiva seeing him inside jail. His dream

of seeing his son being a police inspector is slipping from his hand just like sand. But again

there is no conversation between them understand the main cause of the situation.

01:46:50sces in a conversation between Purushottam and his wife he says that he is not

getting sleep because there was a time when in his dream he used to see his son being a

police inspector and now he sees him in an image of criminal.

01:47:15secs Purushottam goes to jail to see Shiva. He asks for forgiveness to him on which

Shiva replies being an obedient son that not to make him embrace by asking for forgiveness.

Purushottam also mentions that his fiancée’s father looking for another groom for his

daughter and to which he has promised him that Shiva won’t be barrier. This whole

conversation is the only time where father and son comes a bit close each other. Though the

father didn’t fight for his son when Mr. Bhalla said he is thinking of to get his daughter

married to another man instead of Shiva. Somehow it reflects the impact of society on father

and also his acceptance to the impression and image created for Shiva.

01:50:12secs Purushottam reacts to the news of Shiva has gone to Shanti’s place (suburb

prostitute) despite of coming home. He breaks the family photo and curse Shiva.

Billa kidnaps Purushottam’s younger daughter and asks him to bring his son Shiva as an

exchange.

In a scene where Shiva takes promise from his younger brother that instead of becoming a

lawyer he needs to become a police inspector. As their father has this dream of seeing him in

the same.

02:22:35secs Shiva and Purushottam meets at the hospital.

Purushottam; “mujhe malum tha ki tum yahan aogey…..Kanha ja rahe ho…?”

Shiva: “Billa se milne”

Purushottam; Dekho beta tum mera khoon ho. Ek baap hone ke natey main tumse yeh kaheta

ki maat jao…lekin jo tum karne ja rahe ho wohi karne ke liye main tumse binate karne wala

tha”

Shiva: “main aaj tak apne parivar ke liye kuch nahi kar paya…aaj mauka mila hain”

This scenes not only showcase the acceptance of father to son but also father coming out of

the morality of being a cop.



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In the climax scene seeing his son getting beaten by Billa, Purushottam’s fatherly instincts

get provoked so much he asks his son to kill Billa. In this scene Purushottam breaks all the

morality of cop and becomes a father.

Purushottam: “Shiva, maar iss raksas ko. Khatam karde iss shaitan ko. Beta main tumhe kahe

raha hoon maar de iss haivan ko…”

At the end Shiva asks questions to his father, his friends and the society. Who is responsible

for his situation? Who all are responsible for him becoming an criminal?

Shiva: “ kisne di yeh kulhadi mere haathon main..? Aapne.”

“Billa ko marne ke liye kyun kanha baba ?.......kyunki aap se apne bete ko maar khatey hue

dekh bardast nahi hua.”

“kya yehi jasba mujh main nahi tha?.....jab main e mere baap ko beech sadak pe maar

khathey hua dekha tha. Itni si jurm ko apne mujrim ka naam diya.”

“main mujrim nahi banna chata tha. Mere doston ne mujhey mujrim banaya. Mere parivar ne

mujhey mujrim banaya. Kanoon ne banaya. Samaj ne banaya”

He keeps pleading to his father to believe in him that he never wanted to become a criminal.

His expectation of being accepted as son to father and not as a criminal to a cop.

Data Presentation and Analysis:

The film was shown to viewers in the age group 18-23 and they were asked to fill up the

questionnaire. The researcher wanted to understand their views about the interpersonal

communication between father and son portrayed in this film.

Majority of the viewers agreed to expectation of father to son was right.



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Majority of the viewer agreed that Purushottam’s protective nature towards his son became

his enemy.

This question have a fixed views. As Purushottam was not only dreaming for his son to

become a police inspector but at the same time for himself.



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Majority has agreed that Purushottam was a good father.

Most of the viewer disagreed to the question of compulsion of son to fulfil his father’s dream.



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Majority of the viewer disagreed to the idea of pursing own father’s profession.

Mostly all the viewer agreed that miss-communication the crisis in communication between

father and son lead to Shiva’s ruffian.



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Majority agreed that Shiva fulfilled the criteria of being an obedient son.

Most of viewer disagreed to the idea of son’s duty to fulfil father’s dream.



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All most everyone agreed with the storyline of the movie ‘Gardish’ a journey of father son

and their conflict in interpersonal communication.

Conclusion:

The film portrays the complexity of a father-son relationship and how the dynamics of such

relationships are dependent on uncontrolled variables- like the time and the society that they

live in. The exposition itself plants the seed of conflict, where the father (Purshottam) dreams

of a future on his son’s behalf. There has been a predominant school of thought which believe

that it favours the child to follow father’s footsteps. However, in this case, it is not just about

(Shiva) follow his father’s noble profession (Police) to serve one’s country, but to “salute”

him, which clearly projects an aspiration, perhaps his own dream unfulfilled. Our society

tends to value only those who occupy a position of power in an authoritative institution. The

desire of most parents for their child to hold that position for this reason, and how the child’s

dissociation with the “intended” goal could lead to extraordinary and testing circumstances

for all the characters involved. It is also interesting to see how the yardstick to measure a

child’s success is how society perceives the individual. Purshottam is seen doing this in the

film. While the ambition and perception of the father and the society always influence

Shiva’s journey, he never really gets a chance to explore or express his own calling.

Reference:

Chapter V - AN INTRODUCTION TO SADHARANIKARANhttps://shodhganga.inflibnet.ac.in/bitstream/10603/88856/6/chapter%205.pdf

Chapter V - AN INTRODUCTION TO

SADHARANIKARANhttps://shodhganga.inflibnet.ac.in/bitstream/10603/88856/6/chapter%205.pdf

Cambridge Dictionary - https://dictionary.cambridge.org/dictionary/english/crisis

C. E. Shannon, A Mathematical Theory of Communication

Types of Conflicts and Tensions Between Older Parents and Adult Children



Issn No : 1006-7930

Page No: 230



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