The deeply entrenched animosity for Sanatan Dharma and the continuing stream of Indian civilization have created an ‘identity crisis’ for the Islamo-leftist bigots all throughout erstwhile undivided India. On account of the negation of ‘Bharatiyata’ and its innate positive aspects, these parasitic and restless creatures have been projecting notorious bigots, sadists, and paedophiles as highly revered personalities under the smokescreen of “freedom of choice.” The unfortunate glorification of Saadat Hasan Manto is a classic case of ‘hero-hunting’ by a desperate group of Islamo-leftists.
Terrible urge to showcase “rebellious” and “oozing intellectualism.”
Born on May 11, 1912, in Ludhiana, Saadat Hasan Manto was an Urdu writer and playwright. In his writings and rhetorical statements, Manto used to project that he was vociferously against the partition of India. But these statements were purely driven by economic considerations. During that time, through Bollywood, he was making a fortune for himself.
It is pertinent to note that Saadat Hasan Manto used to write for Bollywood films and once appeared in the film “Aath Din” at Ashok Kumar’s behest. Later, when this started waning, his innate character started to unwind itself. When the time came, instead of living up to his words, he fled to Pakistan. Throughout his career, Saadat Hasan Manto had 22 collections of short stories, a novel, five series of radio plays, three collections of essays, and two personal sketches under his name.
Later, in sheer desperation to carve out a legend, the lobby of Urdu writers created a false aura around Saadat Hasan Manto. Barring the fact that he brought great disrepute to the writers’ community, Manto was projected as “one of the finest 20th-century Urdu writers.”
The lion’s share of this great disservice to the profession goes to the writer duo Salim Khan and Javed Akhtar. Both of them left no stone unturned in eulogising Saadat Hasan Manto, even when Manto’s entire career was full of nothing but debauchery.
Notably, Saadat Hasan Manto was tried for obscenity six times: three times before independence and three times in Pakistan after independence.
However, long before Salim-Javed, the cinema industry, especially Bollywood, was operating under the authoritative rule of the Progressive Writers’ Association (PWA). Back then, the industry was dominated by the likes of Saadat Hasan Manto.
There were notables like Ashok Kumar, Shyam Sundar Chaddha, and even former PM Jawaharlal Nehru who were great admirers and friends of Saadat Hasan Manto. The reason behind this uncanny praise was that Manto originally hailed from Kashmir.
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God complex
Intrigued by all-weather controversies around him, there have been two biographical films on Saadat Hasan Manto. In 2015, Sarmad Khoosat directed the film “Manto.” Later, in 2018, Nandita Das directed a film based on Manto, again with the same title, “Manto.”
One line in Nandita Das’ directed “Manto” aptly reflected the narcissistic way of doing things of these Urdu writers, communists, and Islamo-leftist cabal. It stated that, “If you can’t bear my stories (afsanas) then it means that this world (zamana) has turned into an unbearable place to live (nakabile bardas).”
There will be many who will profusely shed tears over this critical analysis of Manto’s writing style. In hero worship, they claim that Manto penned down some good stories as well. For this, they cite his story, “Toba Tek Singh.”
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But if a writer becomes a legend on the basis of a few good write-ups, then it is for sure that there should not be any issue with Bollywood. Unless it has significant artistic, cultural, or historical value, such as Ramananda Sagar’s Ramayan,
Otherwise, in a decade-long career, many writers have given a few good tries. For example, Farhad Samji wrote the first version of Rohit Shetty’s “Singham,” but he can’t be tagged as a great writer.
For anyone to be clubbed in the group of legendary writers, they must display diversity in their writing style and try to create awareness about the good and bad sides of contemporary issues. And it is true that Saadat Hasan Manto lacked it greatly.
Erotica in itself is a different genre, but the majority of Manto’s stories were nothing more than “cheap copies of Mastram” or “soft porn.” His work was full of crassness, derangement, perversion, and debauchery. His writings in stories like “Khol Do,” “Boo,” and “Thanda Gosht” speak for themselves.
A fair and critical examination of Saadat Hasan Manto reveals that he is not even among the ranks of decent writers, let alone one of the field’s legends. Manto was just a businessman who specialised in obscenity and gimmicks. He was projected as one of the best rebellious and critically acclaimed writers by the lobby of Urdu writers just because of their innate hatred for good aspects that Bharatiyata stands for, nothing else.
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