The Illusion of Authenticity: A Critique of Paatal Lok

Vikesalhou Tsira
Kohima  

Paatal Lok, despite its critical acclaim, ultimately squandered an opportunity to delve deeper into the complexities of Nagaland while delivering a compelling narrative. Notwithstanding that the series undeniably thrust the region into the national spotlight, this achievement came at a significant cost: a compromised depiction of Nagaland and a mediocre crime thriller that ultimately betrayed the true purpose of filmmaking.

The ubiquitous proclamation of ‘Paatal Lok has gotten Nagaland right’ begs the question: What has Indian cinema consistently missed about Nagaland, especially considering the dearth of other Nagaland-centric films for comparison? Expanding this inquiry beyond cinema, we encounter the unsettling reality that narratives often depict Nagaland as synonymous with narcotics trafficking and the influence of powerful figures involved in illicit activities. While acknowledging the state’s challenges with drug abuse, it’s crucial to remember that this issue is not unique to Nagaland, mirroring the struggles faced by many regions across the country. This reductive portrayal, akin to celebrating the salinity of salt as a ground-breaking discovery in this day and age, fails to offer a nuanced and comprehensive understanding of the state. Furthermore, would we similarly proclaim Steven Spielberg’s portrayal of India to be accurate solely because it features Shah Rukh Khan and Sonu Nigam?

The first season of Paatal Lok undoubtedly delivered a compelling thriller, but the second season, like many acclaimed series such as Mirzapur and The Family Man, succumbed to the familiar trajectory of a promising debut followed by a less impactful sequel—a decline attributed to a pervasive ailment within the industry: the decline in the quality of film writing. The shortcomings of this series have been conveniently obscured by the discourse surrounding its portrayal of Nagaland. Decoupling the two—Nagaland and Paatal Lok—reveals that there is nothing much to the show’s allure than its superficial engagement with the region. Much like how brands cynically exploit the word ‘Himalayan’ to falsely imbue their synthetic-chemical-laden products with an aura of purity and natural origin, Paatal Lok seems to have leveraged the exoticism and mystique associated with Nagaland to enhance its own appeal, potentially overshadowing the depth of its narrative and the authenticity of its portrayal.

This fascination with Nagaland often resembles the performative attention given to persons with disabilities on World Disability Day, where paraplegics are invited to events held invenues not-wheelchair-friendly and promptly forgotten by the end of that day itself. This tokenistic approach is not what conscious individuals from Nagaland, or any marginalized community, desire. They seek genuine inclusion and respect, to be treated as equals.

While Sudip Sharma, the creator of the series himself, expressed concern about cultural appropriation, these concerns felt superficial, given the series’ limited engagement with Naga culture. It was akin to warning someone about shy and reclusive alligators in a region where they do not exist. Furthermore, this supposed concern about cultural appropriation felt like a cynical attempt to capitalize on a perceived sensitivity, a form of “reverse culturism” – a disingenuous ploy designed to garner attention.

Paatal Lok: Season 2, despite its Nagaland setting, could have been great had the writing been better. Unfortunately, the series prioritized an exoticised-Nagaland over compelling narrative and a one-dimensional and often sensationalized view of Nagaland cannot surely be considered as ‘getting it right’.

The only thing Paatal Lok unquestionably ‘got right’ about Nagaland, albeit ironically, was its inadvertent portrayal of the pervasive influence of nepotism within the state – a reality where success often hinges on connections rather than merit. This insidious reality, where opportunities and advancements are often contingent upon personal affiliations, tragically mirrored the show’s casting choices.

Instead of showcasing the wealth of talented actors hailing from Nagaland, the series inexplicably sidelined these seasoned professionals, thrusting individuals with little to no cinematic experience into the limelight. This egregious oversight not only marginalized the state’s true artistic talents but also inadvertently reinforced the very system of patronage that the show, ironically, seemed to subtly acknowledge. It was as if the creators, while attempting to capture the essence of Nagaland, inadvertently stumbled upon a profound truth about the state’s social and professional landscape – a truth that, while undeniable, should not have been achieved through such an unfortunate and detrimental casting decision.

Despite garnering critical acclaim, Paatal Lok ultimately falls short in its portrayal of Nagaland. While it undoubtedly thrust the region into the national spotlight, this achievement comes at a significant cost: a compromised depiction of Nagaland and a mediocre crime thriller that ultimately betrays the true purpose of filmmaking. In the end, it achieved nothing – neither a truly accurate portrayal of Nagaland nor a compelling cinematic experience.