Train and Tanga as a Cinematic Metaphor: Visualizing Migration, Trauma and Religious Identity in M. S. Sathyu’s Garam Hawa

Authors

  • Md Danish Rahman Research Scholar, Sharda School of Media, Film and Entertainment, Sharda University, Greater Noida, India
  • Ritu S. Sood Professor, Sharda School of Media, Film and Entertainment, Sharda University, Greater Noida, India
  • Mohammad Ashraf Ali Assistant Professor, Sharda School of Media, Film and Entertainment, Sharda University, Greater Noida, India

DOI:

https://doi.org/10.53361/dmejc.v6i02.03

Keywords:

train, tanga, partition cinema, forced migration, displacement, Garam Hawa

Abstract

The Partition of India on the basis of religion in 1947 was one of the most tragic events
in the history of Indian subcontinent. It brought uncertainty and changed the life of
millions forever. People were forced to migrate concerning their safety and security.
They left their belongings thinking they may comeback once the situation gets normal
but never to return. The rumors and riots fueled by religious hatred intensified the
displacement, and millions lost their life in those arduous and risky journeys. The
only means of travel for common people were train, tanga and bullock cart. Even
those means of transport were not affordable or available for many and people tried
to cross the border on foot covering hundreds of kilometers. The train and tanga, full
of humans and their belongings became the biggest symbol of displacement and
homelessness in those times. The film Garam Hawa (1974) by M.S. Sathyu showcases
the plight and agony of Muslims in India after the partition were announced. The use of
train and tanga as a cinematic metaphor to present the deep feelings of helplessness,
isolation and insecurity that Muslims had to face is clearly evident in the film. The
trains and tanga in the film symbolize the separation of families, their ordeal and the
rootlessness from their homeland.
This study examines the train and tanga as a visual sign that highlights the collective
suffering and social instability of the time. Train and tanga scenes do not only depict
physical journeys but also reveal mental and emotional journeys, involving memories,
fears and hopes. This study also explains how Garam Hawa sensitively communicates
the tragedy of Partition to the general audience through the image of the train and
tanga. This research is useful for film and media studies because it shows that a
visual symbol can be able to explain complex historical experiences at a simple and
deeply emotional level.

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Published

2025-12-31

How to Cite

Rahman, M. D. ., Sood, . R. S. ., & Ali, M. A. . (2025). Train and Tanga as a Cinematic Metaphor: Visualizing Migration, Trauma and Religious Identity in M. S. Sathyu’s Garam Hawa. MediaSpace: DME Media Journal of Communication, 6(2), 17–24. https://doi.org/10.53361/dmejc.v6i02.03