SEMESTER II
LEGAL ENGLISH

Climate Change in India: A Wakeup Call from Bollywood

An analysis of Kadvi Soch and Kedarnath

Submitted to: 

DR. RAKESH NAMBIAR

NMIMS School of Law

Submitted by:
Samyak Jain
Roll no – F036
SAP ID- 81022019286

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 TABLE OF CONTENTS

ABSTRACT...............................................................................................................................2

AIM............................................................................................................................................2

RESEARCH QUESTIONS........................................................................................................2

INTRODUCTION......................................................................................................................3

KADVI HAWA.........................................................................................................................5

KEDARNATH...........................................................................................................................9

CONCLUSION........................................................................................................................11

REFERENCES.........................................................................................................................12

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ABSTRACT
In the middle of the lovely landscapes and sceneries of Bollywood, it's tough to identify the
representation of flora and wildlife, roaring streams and drought-prone areas. The new
millennium has, however, seen some filmmakers of the new generation sensitised to
ecological problems, so indicating a transition from illustrating idealised scenery to depicting
the fury of nature. Since film in India has a deeply ingrained impact on the masses, these
filmmakers use films as tools to sensitise the public to the issue of climate change, which is
largely overlooked, yet as dangerous as the COVID 19 crisis. Nila Madhab Panda and
Abhishek Kapoor, Kadvi Hawa(2017) and Kedarnath(2018), both in dawning on the duty of
environmental awareness, emphasise the horrors of human callousness, leading to dramatic
change in the climate in India. Panda's Kadavi Hawa, which deals with loan non-repayment
followed by suicide, depicts a harsh picture of ecological and climatic devastation that has
made Mahua village dry and unfertile. In contrast, Kapoor's Kedarnath calls for action
through horrific images of disastrous floods in 2013 which have devastated the sacred city of
Kedarnath.. The purpose of this study is also to emphasise the possibilities of additional such
stories as a means of successful commitment and consciousness elevation.

AIM

To understand the chilling effects of climate change with respect to Bollywood.

RESEARCH QUESTIONS

 What is the impact of climate change in regards to India?

 How does the Bollywood films - Kadvi Hawa and Kedarnath play a key part in
addressing climate issues?

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INTRODUCTION

Over the years, India has developed from overwhelming protests on the streets to outraging
social media outlets as a nation, where individuals vent their displeasure even more ardently.
However, the threat to climate change that we face is what has failed to find its place among
various problems raised through televised discussions and trendy hash tags.

Over the last 150 years there have been major shifts in climate change, which differ
dramatically from the prior two thousand years. These changes include an increase of 0.85°C
over the world's average temperatures, an increase of more than 20 cm over sea levels,
substantial seasonal variations and intensities of precipitation, altering weather patterns and
considerable retreat of almost all continental glaciers. (Maslin, 2014, pp. 44-45)

Despite this type of threat, however, the climate change disaster is not responding throughout
the whole world and notably in the Indian Subcontinent, where cyclones, storms, floods and
droughts pose a regular natural danger. Beginning with the 2001 Bhuj earthquake, the April
2002 Heat Wave, the December 2004 tsunami, the Maharashtra floods in July 2005, the
Eastern Indian huge 2010 storm, and the 2013 Uttarakhand floods, India have seen
tremendous destruction, death and damage to the economy during the previous decade.
Unfortunately, these disasters haven't driven people from deep sleep and Ghosh (2016) thinks
that there is a general indifference:

Despite the fact that India has several environmental and grassroots organisations...

There does not appear to be much of an impression on the voices of many prominent climate
scientists, environmental campaigners and media in the nation. (p. 169) (p. 168)

Exactly what is the cause behind this? Is it because the scientific and systematic Jargon of the
Climate Change catastrophe research, discussions and action failed to capture the people'
attention? And if yes, which specific techniques can be utilised as instruments to help people
on our planet understand the seriousness of the threat of climate change to them and to other
co-existing species?

While trying to enhance the awareness of the broad masses, this buck definitely ceases from
popular culture, which may be described literally as "massen culture" (Storey, 2009, p. 8) or
"any cultural product with a mass audience" (Zeisler, 2008, p. 1 ). The artefacts of popular
culture—film, television programmes, fiction and even social media—can be used for

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disseminating awakening programmes among the masses throughout the world, aimed at
broad audiences and portraying the feelings of the masses, "to provide deep insight into the
concerns, anxieties and wants of their time" (Jones et al., 2011, p. 3).

But how and how can popular culture serve as a platform for tackling the problem of climate
change? In order to reply to the question referred to above, it is important to remember that
one of the media for popular culture, cinema, has a profound influence on commonality and
via them a major proportion of the world's people draws their information on contemporary
problems. The aim to shape their ideology, commercial and non-commercial films have the
benefits of effect on the viewers' ideas, values, beliefs, actions and, most importantly,
reaction. In such a scenario, films may be utilised as instruments to alert people to the threat
of climate change, as dangerous as the existing COVID-19 problems.

Films about environmental and environmental crisis, Hollywood films and documentary such
as An Before the Flood (2016), Warcraft (2016), An Inconvenient Sequel: Truth to Power
(2017) and others have received awards for their remarkable visuals and presentation of
environmental problems which require urgent humiliation in the last few years have paid
great attention. These iconic images of the environment in film set the way for the new eco-
cinema paradigm. The term Eco-cinema, which can be attributed as coinage and first use to
the 'Eco-cinema: a plan for nature conservation' (Chu, 2016, p. 11) of Roger C. Anderson,
covers Cinema produced in order to bring environmental issues to the forefront and to tackle
human disengagement with nature and its urgent concerns. Ingram (2013) defines ecofilm as
a film with a conceptual substance that promotes ecological concepts or, more general, an
ecological sensitivity more or less openly. This intellectual content is typically thought to
increase awareness of ideas like ecocentrism and ecological connectivity. (p. 44) (p. 44)

In other words, Eco-cinema may be called a tool which contributes to bringing natural
concerns and resources to the forefront. These films not only investigate the relationship
between man and environment but also provide visual warnings of the imminent catastrophe
caused by global warming, climate change, and other ecological dangers such as water
pollution and air toxicity because of the rising levels of pollution worldwide. In the course of
its history, it is clear that the newly constituted genre of ecocinema has emerged in the last
decade from ecocriticism. The subject of ecocriticism is the study of the link between nature
and literature and the connectivity between culture and nature, especially the cultural
artefacts of language and literature. (Glotfelty, 1996) 1996

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Ecocriticism may therefore be seen as a way of analyses that suggests that culture and nature
interact together, form and shape each other at the same time. By means of a comprehensive
examination of cultural artefacts (films on Ecocinema's trajectory) ecocritics analyse their
capacity to focus readers' attention on environmental problems, 2) their utility as tools to
create ecological awareness and 3) their ability to react to the ecological crisis.

But how much did Cinema affect Ecocriticism in India? Are there films or are they produced
to spark the public's ecological awakening? In their beautiful vistas, bigger than life, the
sartorical splendour and sleazy item numbers, do Bollywood films include the awful pictures
of rushing rivers, drought-prone areas and desolate icy lands? A decade ago, a response to
these questions would surely have been negative. At the turn of the century, however, several
filmmakers of the new generation, such as Nila Madhab panda, Abhishek Kapoor, Mike
Pandey and others, were aware of the environmental issues and changed from idealist
beautiful landscapes to the depiction of the sound and fury of nature. What distinguishes
these films from traditional Bollywood films is their absolute refusal to exploit Nature for
love songs but instead to focus on human ignorance and greed that leads to an unstable
ecological setting.

Through a comprehensive examination of Kadvi Hawa's Kadvi Madhab Panda (2017) and
Kapoor's Kedarnath's Abhishek (2018), it is possible to underline that popular culture, in
particular films, may play a key role in resolving climate crisis concerns efficiently. By
thoroughly analysing scenes and dialogues, Eco-films may be seen as an urgent appeal to
confront the horrors of human callousness, which result in a severe shift in climate conditions
in the Indian sub-continent. An examination of human-nature depiction in the above-
mentioned films may be a storey of human non-responsiveness, which has brought about a
dramatic shift in climatic conditions around the world. In addition, the reason for this study is
to identify the components which these filmmakers used in their stories and images to modify
the attitude of the audience, therefore highlighting the possibilities of more such stories as a
tool for successful engagement and consciousness development.

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KADVI HAWA

Nila Madhabh Panda's attempts to contribute to the environmental and ecological concerns
are revealed in the films and documentaries he has criticised, which provide a genuine
depiction of the socio-environmental situation in India. His eco tales, Kaun Kitney Pani Mein
(2015) and Kadvi Hawa (2017), were recognised as the key contributions of Hindi Film
Industry to the Ecocinema genre. Kaun Kitney Paani mein is a humorous approach to the
delicate topic of water shortage in modern India. Kadavi Hawa strives to dive into human
consciousness and reflect on its role to bring the anthropocene to the attention of the
audience.

Set in the North Indian fictitious town of Mahua, Kadavi Hawa focuses on the eyes of a
sightless father, Hedu (Sanjay Mishra), who is trying to save the debt-ridden farmer- son of
Mukund (Bhupesh Singh), from the grips of the area's "suicide-disorder." In an attempt to
settle Mukund's debts, Hedu has reached an agreement with Gunnu Babu, a ruthless credit
recovery agency (Ranvir Shorey). Hedu seeks a clearing of a loan of 42,580 rupees in return
for information on farmers' salaries, which he needs to force them to repay their loans.
Together with India's narrative agricultural crises and farmers' suicides, the movie represents
the reality of global warming and climate change in India, resulting in the loss of natural
resources and the destruction of the environment. The settlement of Mahua and many other
villages have become dry because of human callousness. As greenhouse gas emissions grow,
general temperatures increase and the climate conditions in a region change permanently.
Rainfall is episodic in such locations, and insufficient quantity of water, whether surface or
subterranean, leads to a farming problem (Maslin, 2014, p. 80). Because 'drought has a
significant impact on local ecosystems and agriculture, including a reduction in crop growth
and crop output and animal loss' (Maslin, 2014, p 81), farmers rely on surviving loans to
assist them yield crops and repay debts in expectation of rains. The government, hounded by
lending remediation agents like as Gunnu Babu alias Yamaraj, farmers like Mukund and
many others, is nonetheless never ceasing to live and succumb to a "suicide illness" that
plagues their hamlet.

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Kadvi Hawa is called a strong and fascinating contribution to the Ecocinema genre. As Paula
Willoquet-Maricondi (2010) believes, Ecocinema openly seeks to inspire people's personal
and political action, encouraging our thinking in order to create real changes in our choices,
both daily and in the long term, as individuals and as societies, locally and internationally. (p.
45) (p. 43)

By the same token, Kadavi Hawa places nature at the centre of the storey. The film
intentionally drives the spectator into a sudden urge for activity by means of the terrible
visual picture of scarcity and drought in its sequences. The director reveal his own
"ecological blindness" when sightless Hedu walks with a stick to pave the route for himself
through the dry ground, without even a speck of vegetation and a drop of water nearby. The
dry, sad landscape is an appeal to our realisation and action in the direction of global
warming. This is indeed a matter of urgency, since not less than 24% of India's arable land
gradually becomes desert, and a rise of two degrees Celsius at the world average temperature
would cut food supplies in India by one fourth. [French version, 2016, p. 120]

The natural resource of water, rivers and water bodies, with rising global temperatures, is
drying, while at the same time increasing the demand on available water resources; wells and
wells are in turn depleted. Farmers' women such as Hedu's lady, Parvati (TillotamaShome),
need to get fresh drinking water to collect drinking water from the region, which is within
walking distance of the hamlet, to store it in bottles and earthen pots. Hedu's repeated
instructions his grandson Kuhu not to fill up the full bottle whenever he asks for water for a
defecation is in reality a strong warning to the people to make good use and preserve the
natural resources before they decline. In response to Hedu's orders, Kuhu's statement "From
where are you going to get water?" reflects an echo of Amitav Ghosh's remarks in his
landmark work, The Great Derangement (2016): Sustainable South and South-East Asia's
rivers rise in Tibet and in the Himalayas; the waters stored there are 47 per cent of the world's
population in the form of ice... However this region warms up twice as quickly as the normal
worldwide pace, and it was revealed in 2008 that the Himalayan glaciers have already lost
their ice since the mid 1940s. One third of them will melt by 2050, due to some estimates. (p.
121) (p. 121)

Furthermore, the image of Hedu's plastic drinking water is a scary depiction of the imminent
future of dystopia on his visit to the Bank, the "Great Derangement" era (Ghosh, 2016),

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brought about by human meddling with nature without leaving any natural resources for the
human use.

The director highlights the devastating effect of climate change on the season cycle through a
class conversation between Kuhu's student and the instructor. While the instructor always
calls four seasons a year, the youngster from "Beehad Mahua" is left to claim, since the only
seasons he know of are summer and winter. Rainfall is a whole season for his students and
instructors as in Beehad Mahua, it "rains just 2 or 3 times a year, sometimes in winter and
sometimes in summer." It is Hedu, who can sense the catastrophic effect of climate change on
the air, the air he says is smooth and dry forever. When Kuhu told the classroom event, a
worried Hedu said, "It's been four seasons before... Air delivers clouds and seasons, the scent
warns us something's wrong, it's become ill."

With greenhouse gas emissions in the cities growing quickly, the impoverished stratum are
carrying the brunt. It is the marginalised segment of society that pays the price the Rich
maintain for their luxury, carbon-based lifestyle. Erle C. Ellis (2018) notes that the rich
consume far more energy and emit much more carbon dioxide than the poor. Personal vehicle
and jet plane travelling, which most people on earth never did, are among of the most energy-
intensive things that individuals can do. (p. 133) (p. 133)

As greenhouse gases grow, mercury is rising and the planet is being scorched and destroyed
by its natural vegetation. The "office" of Hedu, the only shaded location in the hamlet, is his
meeting place with Gunnu Babu which he regularly goes with his buffalo Annapurna and a
water bottle. Deprived of colour, the hamlet appears to be disgusted, as though frantically
imploring God Gunnu Babu and the Rain gods for compassion. While the world's rain
desperation is depicted through the exemplary Ramanuj Dutta's films representing the brown,
barren, thirsty, dusty countryside, Hedu's words, "You are like rain in my life," describe
farmers' distress and anticipation of rain, which he sends back to Gunnu Babu by transferring
some of the profit he earned using Hedu's information

More seriously, the lack of education makes it impossible for farmers to deal with the impacts
of climate change. With rising temperatures, agricultural production is declining and since
farmers don't know how to vary their time to plant to another crop, the land is becoming

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perpetually unclear waiting for the rainfall. This climate change related sterility is highly
filmed as the screen does not show any trace of greenery in "Beehad Mahua," except from
certain trees that are only suitable for the purification of teeth. Onions and potatoes are her
kitchen's only veggies Parvati prepares.

Fearful of farmers as 'Yamraj,' at first Gunnu Babu seems a malicious agent for the collection
of loans. But, as the narrative of Gunnu reveals, it is obvious that it is not Gunnu who is the
true monster, it is collectively the human population that causes devastation in the planet
Earth. He himself, who comes from Odhisa, is a victim of nature's fury since cyclones often
affect his hometown of Kendrapara. He is obliged to migrate to Mahua after losing his father
in a storm that brought damage to Odhisa, to provide for his family - his mother, wife, and
two sisters - and to bring them to Beehad Mahua, a much "safer location" for anyone who
saw that water and rains were destructive.

The gloomy and tragic finish for Hedu and Gunnu reminds the people of an imminent
catastrophe. The bitter conclusion in which Hedu loses Mukund to suicide, and Gunnu loses
his family in cyclone 6B reflects our very future – a period of total loss and turmoil from
which there can be no comeback.

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KEDARNATH

Records of the history of climate change in 2013 were disastrous notably in India for the state
of Uttarakhand, where heavens were devastating the Holy City of Kedarnath, leading to the
biggest flood in the decade to hit India. 144 bridges crumbled, 400 towns were washed away
and 1636 highways destroyed and over 15,000 pilgrims and peasants and 5,000 animals
swept through (Das, 2013). While the facts appear awful, the more horrible is the reality that
the catastrophe was indeed inflicted upon the holy city by human-induced catastrophe, even
while it was known as a "natural tragedy." There may be two reasons why climate change has
brought about this damage; 1)"A warmer climatic environment will make air more water and
more water vapour, so that the moonsoon winds will transport more moisture"(Maslin, 2014,
p. 77). 2) In a warmer climate, Glacial Lakes are rapidly expanding, "and their abrupt blows
release billions of cubic metres of water that end in disaster" (Das, 2013). The glacier of
Chorabari, lying atop Kedarnath, was destabilised by severe rains and unleashed a flow
"water with enormous amounts of muck, debris and stones" (Das 2013).

The twin interfaith lovers-Mandakini known as Mukku (Sara Ali Khan), a daughter of the
Hindu Priest and Mansoor (Sushant Singh Rajout), and a Muslim human porter-Abhishek
Kapoor's Kedarnath, skilfully weave the disaster in 2013, is an emotional depiction of human
greed and maladministration that caused a havoc in the holy city in 2013. Kedarnath focuses
on the tragedy and human acts that lead to it and is listed as Ecocinema

In addition to natural events, ecocinema also addresses ecological and environmental

problems caused by people. Industrialization, urbanisation and overdevelopment signify
serious environmental degradation outcomes (Chu, 2016).

This human greed is being pushed to the fore by Kullu (Nishant Dahiya), the priest's future
son-in-law, who builds a two-star hotel and a lodge in Rambada in order to benefit and satisfy
the needs of an increasing number of visitors. The materialism of Kullu leaves him oblivious
to the warning of the head priest that "this building will alter the deadly flow of the river."

Every year, Kedarnath gets an exodus of pilgrims who come to offer Lord Shiva a 'Moksha'
achievement in praying. The cost of this spiritual achievement is the environmental
deterioration of roads, bridges, lodges and hotels to accommodate pilgrims and to promote

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business. As Beth Berilla (2010) believes, environmental justice is best achieved through a
dynamic and interconnected connection with nature. (p. 117) (p. 117)

The recommendation of Mansoor to "make the number of pilgrims restrict rather than build"
is therefore an attempt to maintain a friendly connection between the human and the non-
human. 1) the authorities granting permission to build such an irresponsible building, 2) the
pilgrims who fail to put nature's cry of peace above their own interests, and 3) the people that
tend to forget that the valley does not belong to them, but that it is the valley which nurtures
them.

Mandakini is not only concerned about the degradation of the valley; his love for the valley
also distracts him by the ecological degradation of natural resources: in particular he is
furious about the hoardings and billboards "covering the valley rather than its rightful
owners; flowers and greenery." Mandakini, whose name comes from the Mandakini river that
comes from the Chorabari glacier, is in fact portrayed as the human representation of the
latter. It is via her that Kapoor makes the river talk, as if giving a warning that she will cease
shifting course since "she can devour the sky" and damage is being caused. They demand
unattended, and they shout unheard, both the river and the girl, to seek justice: As the lovely
Mandakini worships for a curse to attack the hamlet which bans its union with Mansoor, the
river washes the whole town by its repeated warnings.

The filmmaker, emotionally charging the audience with animations by weaving true video of
the catastrophe, undoubtedly enhances the level of care for nature amongst spectators. The
bright yet terrifying imagery of the deadly rains and flooding of thousands of pilgrims,
communities, animals, bridges, highways and buildings, causes terror in the audience,
shaking them out of their "denial" and bringing an urgent awareness into the world-wide
climate crisis.

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CONCLUSION

We live in an age, where, human intervention with the course of nature has caused
environmental degradation to an extent that with each passing day, the earth seems more
damaged than ever before. This devastation is clearly visible through a drastic change in the
climatic conditions, all over the planet, leading to droughts, floods, cyclones and storms.
However, the alarming records of these calamities have still not been able to attract the
attention of the general masses, which live in a state of constant denial, unwilling to bring
changes to their lifestyle and decrease their carbon foot-print. Therefore, in such a scenario,
popular culture works, especially cinema, can emerge as “saviours of the earth”, owing to
their mass outreach-which can prove to be useful to disseminate knowledge about the
Climate Change threat that looms upon us. Dawning upon their shoulders, the responsibility
of awakening the “ecological conscience” of the audiences, a few new-generation film-
makers have greatly contributed towards the genre of Ecocinema through movies such as
Kadvi Hawa and Kedarnath which raise concern towards human intervention that has led to a
drastic change in temperature. Unlike mainstream Bollywood cinema, these masterpieces
place nature at the centre of their narratives to highlight the human recklessness that has
paved a way for calamities and natural disasters. Located at two polar opposite locations- a
drought prone and a flood prone area-the connecting strand between both the narratives is the
human greed that has wreaked havoc. Interestingly, to call for rapid action, both the creators
employ visuals and dialogues as mediums; Whereas, the employment of catastrophe imagery
coupled with the crippling aftermath of the calamity, generates concern as well as fear in the
minds of the viewers, the films’ dialogues, voice the worries of the Anthropocene and impart
motivation to the viewers to work together to conserve the natural resources before they
deplete. Intricately weaving fiction and facts together, the directors, break away from the
categorical divisions of “The Critical” and “The Commercial”, and weave interdisciplinary
storylines that are entertaining as well as ‘conscience raising’, thus enhancing scope and
possibility of more such narratives. Further, both the narratives induce thoughtfulness,
motivate the viewers to gain agency, and call for urgent action.

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