Movie Review: Director Meghna Gulzar’s recent film portrays the exploits and clever remarks of Field Marshal Sam Manekshaw’s life without nuance.
Sam Bahadur movie review: Vicky Kaushal portraying Sam Manekshaw in a scene.
Sam Bahadur movie review: Director Meghna Gulzar’s recent film, Sam Bahadur, boasts several strengths. Meghna Gulzar, having achieved success with Talvar (2015) and Raazi (2018), helms the project. Vicky Kaushal, known for portraying characters dedicated to national missions in Uri: The Surgical Strike (2019) and Sardar Udham (2021), takes on the lead role. Moreover, the film delves into the life of Field Marshal Sam Manekshaw, a legendary figure in the country’s military history, known for surviving being shot nine times by a Japanese soldier during WWII.
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Shifting uncomfortably in your chair for an extended period, you anticipate that moment of cinematic brilliance. A forced smile emerges as writer Bhavani Iyer and director Meghna Gulzar attempt to inject humor. However, despite these efforts, the essence of Sam Bahadur remains elusive. Exiting the movie hall, it feels like experiencing a freshly retold annual online listicle about Manekshaw – the one who served humble pie even to the country’s then Prime Minister, sported a distinctive bushy handlebar mustache, and dispensed both bangles and battlezone aphorisms.
Biopics often present a challenge due to their episodic structure and constraints of accuracy and length. The memorability of a biopic hinges on how and where the film situates its central conflict. In the case of Oppenheimer, released earlier this year, it revolved around the protagonist’s security clearance revocation. Sam Bahadur, on the other hand, chooses to narrate the story of its celebrated protagonist without elaborate narrative maneuvers, divergence, or a critical exploration of Manekshaw’s recent portrayal as the ultimate sigma male. The film is resolutely dedicated to showcasing his legend on screen, resulting in a hagiography. Interestingly, the characterisation of Manekshaw’s Pakistani counterpart, Yahya Khan (Mohd Zeeshan Ayyub), receives more nuanced treatment (albeit with some unsettling aging makeup and prosthetics).
Vicky Kaushal is the standout element that captivates viewers throughout this movie. Following a somewhat unimpressive year with roles in Govinda Naam Mera, Zara Hatke Zara Bachke, and The Great Indian Family, Sam Bahadur provides Kaushal with a character that allows him to showcase the magic reminiscent of his performances in Sardar Udham, Raazi (2018), and Masaan (2015). In the hands of a less capable actor, Manekshaw’s mannerisms, distinctive vocalization, and well-known effortless charm might risk appearing as a caricature. However, Kaushal, with his unwavering confidence, skillfully embodies the character. His offscreen openness and self-acceptance seamlessly translate into the protagonist’s optimism and unshakable belief in his capabilities.
Sanya Malhotra, portraying Sam’s charming wife Silloo Bode, provides emotional stability to the Manekshaw household, complementing his unconventional energy with the same ease she showcased in Jawan and Kathal. The film frequently alludes to the idea that Manekshaw’s victories come at the expense of Silloo and their daughters. However, Fatima Sana Shaikh’s portrayal of Indira Gandhi is somewhat unsteady, with the casting choice being a significant factor in this assessment.
Despite Shankar-Ehsaan-Loy’s evident musical prowess and their successful collaboration with Gulzar in Raazi, the film’s music is loud, distracting, and lacks melody (the war anthem Badhte Chalo is surprisingly dull and inelegant). Alongside a mediocre background score, Sam Bahadur effectively utilizes archival footage to maintain the narrative and add a documentary gravitas to the storyline. However, even this contributes to the film’s passive linearity and abrupt time jumps.
Sam Bahadur presents an endearing and captivating portrayal of various chapters in Manekshaw’s life, forming the film’s narrative. The individual segments, especially those capturing the air strikes and combat scenes in Burma (credit to cinematographer Jay I Patel), are executed, designed, and performed admirably. These elements might make the film appealing for a theatrical experience, showcasing a larger-than-life portrayal of Manekshaw.
However, the connections between these segments, including Manekshaw’s exchanges with his radio set-carrying cook, the protagonist’s romantic encounter, and the sequence featuring his famous statement about Gurkhas and fear, appear disjointed. These aspects require some leniency, considering the film’s predominantly optimistic tone.
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