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These veils begin to lift after the Interval, however, through a secondary plot involving the most noble of their friends, the idealistic young airman Ajay Rathod (Madhavan), and their gradual uncovering of a scandal involving the Indian Air Force and a corrupt (and Hindu Nationalist) Minister of Defense. In an admirable cinematic move, these sometimes-abrupt cuts to a beautifully-realized early 20th century India are never precisely identified they may be scenes from Sue’s (wished-for but unmakeable?) film, collective reveries, or true historical flashbacks revealing the reluctant collegiate actors as veiled avatars of the rebellious idealists of the past.
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But Sue’s auditions yield only vapid and ludicrous wannabe actors - unable to put any oomph into freedom-struggle slogans like “ Vande Mataram!” (“Hail to the Motherland!”) and (the preferred cry of the Leninist Bhagat Singh) “ Inqilab Zindabad!” (“Long live the revolution!”) - until Sonia takes her to a different sort of “classroom” ( Paathshala, also the film’s first song), a surreal cliffside amphitheatre where a gang of ultra-hip and not very studious college friends gather, hang, and party hard. Saunders in retaliation for the clubbing death, during a nonviolent protest in 1928, of elderly nationalist leader Lala Lajpat Rai the April, 1929 detonation of a non-fatal bomb in the Delhi Central Assembly in order to call attention to their cause and their subsequent imprisonment and execution. (The small detail of how they will pull this off is, like a number of other improbables in the film, left to our willing-suspension-of-disbelief.) Settled into a posh flat in an “International Institute” at Delhi University (in fact, the set is the campus of the city’s impressive Habitat Centre), Sue begins casting her film, which is to feature an elaborate re-enactment of the revolutionaries’ decisive acts: the Kakori train robbery of 1925 to obtain money to purchase weapons the fatal shooting of police officer J. Angry and disheartened, she goes to India anyway, where her would-be collaborator Sonia (Soha Ali Khan) cheerily announces that they will go ahead with the project despite the withdrawal of funding. Although, as a woman (and here the film shows a more conventional side) her role can only be to witness, from the sidelines, the central spectacle of male martyrdom, she is nevertheless (for Hindi cinema) a notably unconventional witness.Īs the film begins, Sue’s dream of retelling the story of the anti-Raj revolutionaries is abruptly shattered when her BBC “World Vision” producers pull the budgetary plug on the project. Patten’s sensitive and endearing performance. That her gaze is discerning and not stereotyped, appreciative but not fawning, doubtless owes much to the scriptwriter and director, but also to Ms. The two parallel narratives, one familiar and closed, the other emergent and unpredictable, come together through the eyes and lens of a fictional director making a film-within-a-film.Īn outsider-insider, she reverses the recent trend toward expatriate NRI heroes and heroines (who view the West through privileged Indian eyes) to invite Indian viewers to see themselves through foreign ones. The story of the 1931 martyrdom of the young revolutionary and freedom fighter Bhagat Singh and his companions Rajguru, Sukhdev, and Chandrashekhar Azad-one of the hallowed legends of modern Indian history and itself the subject of a spate of recent films (see, e.g., THE LEGEND OF BHAGAT SINGH, 2002)-is again retold here, this time interwoven with a contemporary fable about radicalization and sacrifice.
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Its fast-paced and visually arresting presentation belies a multi-layered storyline that assumes considerable background knowledge of twentieth-century Indian history. In the best tradition of Bombay film, it is both innovative and conservative: a forward- and backward-looking meditation on two of the preoccupations of Hindi cinema: nationalism and filmmaking. This complex and unsettling tale about the political awakening of a group of jaded urban youths became one of the most acclaimed and talked-about films of 2006 in India, as well as India’s entry in the US Academy Awards. Story and script: Kamlesh Pandey Dialogue: Prasoon Joshi, Rensil D’Silva Screenplay: Rensil D’Silva, Rakeysh Omprakash Mehra Lyrics: Prasoon Joshi Cinematogaraphy: Binod Pradhan Music: A.