At the very end of the movie, we see the Mirza's getting involved in the revolutionary actions. Sikandar finally gets the permission to fight for Muslim rights in India from Salim Mirza. This scene highlights the deeper layer of Salim Mirza which shows his consent to fight for Muslim rights in India. This layer of his character is a reflection of Sikander's outer layer. Thus, we see that Sikandar is the true depiction of his father in comparison to his brother Bakr who eventually migrates to Pakistan to avail all the economic available opportunities.
The following last few dialogues of Salim Mirza are extremely powerful:
'Insaan kab tak akela jee sakta hai'
'jameela, main bhi akeli zindagi ki ghutan se tung agya hun'
'tanga wapis le jao ghar ko.'
Firstly the loneliness over here is associated to lack of opportunities. Secondly, the 'ghutan' or claustrophobic atmosphere is a consequence of this lack of opportunities. It is the same ghutan which forces the revolutionary characters to take an action and not just escape from the problems. Lastly, the word 'ghar' or home is used first time in the film. We see this home being referred to as the 'Haveli' or 'Makaan' earlier. However, eventually it is regarded as 'ghar' which shows a lot of emotions attached to not only their set up but also to their motherland. The Muslims have tried to depict their ownership over the land through fighting for it and relating to it with strong emotions.
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