|Gulzar in a still from Jallian Wala Bagh|
|Non-violence vs Violence: How to get India to revolt?|
- Its depiction of the underling conflict between the extreme revolutionaries and the moderate (and non-violent) Gandhian reformers. The characters of Om Shivpuri and Vinod Khanna, father and son, are at constant loggerheads regarding the approach that the freedom struggle should adopt. Here Deepti Naval provides the balancing act and articulates the difficulty in making one choice out of the two. This debate later continues between Uddham Singh and Om Shivpuri’s character in London, two decades after the incident of Jallian Wala Bagh.
- The introduction of a global perspective to the proceedings in the later part of the film. When Uddham Singh reaches London, the world is in a state of conflict, with Hitler on the warpath. It is refreshing to see a movie talk about the broader canvas, while not losing the grip of the core plot. The use of an English lady’s character that supports Uddham Singh and Sunil (Gulzar) against the British is done really well, and executed sans any stereotypes.
- A major part of the second part (which is set in England) is in English. This again is quite different for a movie that largely talks to a Hindi speaking audience. In fact this leads me to believe that the second part of the movie, which has much finesse as compared to the first, must have been shot first. The first hour of the movie (the events leading to the massacre) might have been shot later with more mainstream appeal in the hope of giving the movie a commercial release.
|Parikshit Sahni as 'Uddham Singh', the revolutionary who killed Micheal O'Dwyer, the man responsible for the massacre of Jallian Wala Bagh|
|A Poster of the movie: Highlighting the commercial elements, while concealing the real ones|