How 'Swades' redefined nationalism, quietly and effectively

When was the last time a mainstream Indian film made you believe that lighting a bulb in a rural household was an act of patriotism? ‘Swades’ did. In a cinematic landscape increasingly dominated by jingoism and hyperbole, Ashutosh Gowariker’s 2004 film remains a gentle whisper though it echoes louder than any scream.

‘Swades’, which became a cult classic, offered a vision of nationalism that was deeply humane, rooted in introspection, and transformative in its simplicity.

Set in Charanpur, a remote village in North India, ‘Swades’ tells the story of Mohan Bhargava, a NASA scientist who returns to India in search of his childhood caregiver. What begins as a personal journey turns into a larger awakening. Mohan, a name chosen after Mohandas Gandhi, reconnects with the land and its people, and eventually decides to stay back and contribute. The emotional core of ‘Swades’ was not wrapped in high-octane action or chest-thumping narratives. The film’s soul comes alive in a scene where Mohan, through a hydroelectric project, lights a bulb in the village, a cinematic moment where development wasn’t dramatical, but realistic.

The nationalism in ‘Swades’ is not reactive; it is reflective. It doesn’t seek a hypothetical enemy to vanquish but society to understand and work for its betterment. The Shah Rukh Khan-starrer stood out through its sheer simplicity. It asked difficult questions of its protagonist and, through him, of us: Who are we? Where do we belong? What is our duty to the land we come from? Can love for one’s country be shown through service, not slogans?

However, the cinematic portrayal of nationalism has undergone a drastic transformation. The shift is not only tonal but also substantial. Films like ‘Ek Tha Tiger’ and ‘Pathaan’ have redefined the patriotic hero as a vigilante fighting enemies in hypothetical scenarios that promote ‘othering’. The narrative is clear: the threat is from ‘the other’. This change reflects a broader mood, one where nationalism is increasingly equated with aggression, exclusion, and spectacle.

In contrast, ‘Swades’ represented an introspective nationalism, one that closely reflected the vision of Rabindranath Tagore on nationalism; one of self-correction, not self-congratulation. Mohan Bhargava’s inward journey sparked a collective change for his village. That narrative of nationalism — quiet, inclusive, and deeply personal is a rare commodity in today’s society and cinema. Nationalism is now a badge of superiority; a narrow sense of belonging that justifies othering.

This is precisely why ‘Swades’ remains relevant even after two decades. Its portrayal of India through an idea of decentralised nationalism is quite unique. Mohan fights, but his inner self; he serves the larger good which is his only goal; wages no war, yet brings change. At a time when the hero often represents state power, this protagonist stood for people’s power. And therein lies the contrast: ‘Swades’ didn’t ask us to cheer, it asked us to change.

Cinema, after all, mirrors the mood of society. As the national discourse has turned louder, aggressive, and at times hardened, so has the portrayal of nationalism on screen. The average Indian once found a reflection in Mohan Bhargava — rooted, conflicted, and yet hopeful, a depiction of an India that was aspirational.

Even when films like ‘Newton’ (2017), that offered a grounded view of India’s democratic challenges and was India’s official entry to the 90th Academy Awards in the Best Foreign Language Film category, achieve international recognition, they struggle at the box office. This commercial gap reflects a deeper shift in audience preference: from realism to fantasy, from introspection to projection.

In these changing times, ‘Swades’ stands out not just as a film, but as a statement. A reminder that patriotism lies not in how loudly one shouts, but in how deeply one serves. It remains a rare cinematic moment when the idea of India was portrayed with honesty, humility, and heart.

— The writer is a student of Hans Raj College, University of Delhi