Netflix’s latest web series “IC 814: The Kandhar Hijack” encountered a turbulent reception this week when several social media users objected to the representation of the hijackers in the critically acclaimed series. The outrage centered around the names of the four hijackers, igniting a series of events that included governmental intervention and legal action.
In response to the uproar, the Information & Broadcasting Ministry summoned Monika Shergill, the content chief of Netflix’s OTT platform, for an explanation. Adding fuel to the fire, a public interest litigation has been filed before the Delhi High Court by the president of the Hindu Sena, a social and political group. The plea alleges that the series distorts the religious identities of the hijackers by naming two of them as Bhola and Shankar, and it seeks the revocation of the series’ certification.
Directed by Anubhav Sinha, the six-episode series dramatizes the hijacking of Indian Airlines Flight IC-814 on December 24, 1999. The flight, which departed from Kathmandu heading to Delhi, was redirected multiple times, eventually ending up in Kandahar, Afghanistan, an area then under Taliban control. The six-day ordeal culminated in a deal brokered by the Atal Bihari Vajpayee-led NDA government. In exchange for the safe release of the passengers and crew onboard, the government freed three notorious terrorists: Masood Azhar, Omar Saeed Sheikh, and Mushtaq Ahmad Zargar.
The series is partially inspired by “Flight to Fear,” a book by the plane’s pilot, Captain Devi Sharan, co-written with journalist Srinjoy Chowdhury. Despite its firm grounding in real events, the series includes a disclaimer that describes it as a fictional work set against the backdrop of true incidents.
The controversy stems from the creative license taken by the series’ creators, who did not explicitly state that the terrorists used codenames during the hijacking—a fact that many consider to be self-evident. Historical accounts clarify that the hijackers did indeed use aliases. A press release from the Union Home Ministry, issued on January 6, 2000, identified the hijackers as Ibrahim Athar, Shahid Akhtar Sayeed, Sunny Ahmed Qazi, Mistri Zahoor Ibrahim, and Shakir.
. The release confirmed the use of aliases: “To the passengers of the hijacked plane, these hijackers came to be known respectively as Chief, Doctor, Burger, Bhola, and Shankar, the names by which they invariably addressed one another.”
Many of the outraged individuals seem concerned about the long-term implications of these creative liberties. They worry that as the details of the hijacking fade from public memory, future generations might misunderstand the incident. BJP leader Amit Malviya took to X to voice his concerns: “The hijackers of IC-814 were dreaded terrorists, who acquired aliases to hide their Muslim identities. Filmmaker Anubhav Sinha legitimized their criminal intent by furthering their non-Muslim names. Result? Decades later, people will think Hindus hijacked IC-814.”
Although the series does not make it abundantly clear that Bhola and Shankar are codenames, it does reveal the true identity of Chief when negotiations reach a critical impasse. Journalist Neelesh Misra, who also authored a book on the subject, noted in a post on X that Chief was the brother of Masood Azhar. Within the series’ narrative, Bhola and Shankar are minor players and are only addressed by their code names once in six episodes.
The controversy surrounding “IC 814: The Kandhar Hijack” highlights the fine line between artistic expression and historical accuracy. While the creators argue that their portrayal aligns with certain real-life elements, critics insist on a more transparent representation of the facts. This debate poses broader questions about the responsibilities of filmmakers when depicting sensitive historical events.
The series has sparked a necessary dialogue on how we remember and interpret history, especially through the powerful medium of cinema and television. As the legal and public discourse continues, it remains to be seen how this will impact the portrayal of true events in future creative endeavors.
