By:
Mahesh
Bhatt,
IndiaFM
Monday,
July
09,
2007
All
my
life,
I've
been
haunted
by
the
fascinating
questions
of
creativity.
Why
does
an
idea
suddenly
pop
up
from
the
unconscious
at
a
given
moment
and
eclipse
all
the
other
ideas
that
you
are
working
on?
What
is
the
relationship
between
the
creative
act
and
the
reality
that
you
live
in?
How
did
an
Arth
or
a
Saransh,
which,
sourced
from
one's
own
anguished
heart,
become
enduring
classics
which
inspire
even
the
current
generation?
I
ask
these
questions
out
of
my
own
excitement.
As
a
child,
in
my
drawing
classes,
I
loved
watching
two
colors
merge
on
a
paper,
and
form
an
unpredictable
third
color.
It
is
this
unpredictable
third,
the
result
of
merging
two
givens
that
is
really
at
the
heart
of
all
creativity.
Like
a
sperm
that
and
an
egg
merge
to
become
a
complete
new
entity,
so
in
the
arena
of
creation
on
film,
when
truth
and
reality
is
merged
with
fiction,
it
creates
what
James
Joyce
called
the
'uncreated
conscience
of
the
human
race'.
And
these
words
stand
out
like
lighted
beacons
in
the
dark
night
for
generations
to
come.
There
is
an
old
Jewish
story
which
goes
like
this:
"Truth,
naked
and
cold,
had
been
turned
away
from
every
door
in
the
village.
Her
nakedness
frightened
people.
When
Parable
found
her,
she
was
huddled
in
the
corner,
shivering
and
hungry.
Taking
pity
on
her,
Parable
gathered
her
up
and
took
her
home.
There
she
dressed
Truth
in
story,
warmed
her
and
took
her
out
again.
Clothed
in
story,
truth
knocked
again
at
the
villager's
doors
and
was
readily
welcomed
into
the
people's
houses.
They
invited
her
to
eat
at
their
tables
warm
herself
by
their
fires..."
This
tale
which
has
been
retold
since
the
eleventh
century
teaches
us
something
very
useful.
Clothing
truths
in
stories
is
a
powerful
way
to
get
people
to
open
the
doors
of
their
minds
to
you
and
the
truth
you
want
to
tell.
One
such
story
is
Dhokha.
As
the
newspaper
headlines
scream
about
Indian
involvement
in
the
UK
terror
plot,
the
nation
is
once
again
reminded
that
the
demon
of
terrorism
is
very
much
alive
and
kicking.
Where
is
this
demon
born?
How
do
you
rein
it?
These
are
some
of
the
questions
that
Dhokha
explores,
albeit
in
a
very
exciting,
nail
biting
plot.
Dhokha
has
the
audacity
to
say
what
it
says
without
mincing
its
words
because
it
is
born
out
of
the
love
of
one's
country,
and
the
compassion
for
the
suffering
of
the
Indian
Muslim,
who
is
presently
being
annihilated
by
the
winds
of
Islamophobia
which
are
raging
through
the
world,
and
who,
in
our
country,
in
its
sixtieth
year
of
independence,
is
still
waiting
to
be
included
in
the
mainstream.
To
those
who
have
blinded
themselves
to
the
suffering
of
their
fellow
human
beings,
Dhokha
will
be
a
jolt.
It's
a
film
that
will
compel
you
to
get
involved
and
change
your
perceptions
about
terrorism
and
its
causes.
It
will
be
a
death
knell
to
that
cowardly
thinking
that
is
all
pervasive...
'I
do
not
want
to
get
involved.'