Even if the fictional trajectory of Gandhi Godse – Ek Yudh falters on some accounts, it sure points in the right direction

Mona

Gandhi and Godse, who doesn’t know these names or their life trajectory? Those interested in their narratives must also be aware of known playwright Asghar Wajahat’s play Godse@Gandhi.com. Now, this play gets a cinematic outing in Rajkumar Santoshi’s directorial Gandhi Godse - Ek Yudh.

Film: Gandhi Godse - Ek Yudh  

Director: Rajkumar Santoshi

Cast: Deepak Antani, Chinmay Mandlekar, Tanisha Santoshi, Anuj Saini, Pawan Chopra

Rating: ***

Santoshi dons the director’s hat, after a decade, with a film that’s written by him, and dialogues are by Asghar Wajahat on whose play the film is based. The film hit the screens on India’s 74th Republic Day and four days before Godse shot Gandhi. The film explores a fictional aftermath of Gandhi surviving the bullets. The sub-plot has Sushma and Naren's love story; her martyr father's last wish was that she joins Gandhi in serving the nation.

The film chases ‘what if’ scenario addressing many a myths about Gandhi, however, it’s the portrayal that falters. Gandhi is shown to be a petulant, old man who every now and then resorts to aamran anshan when ignored. Godse is one dimensional. More theatrical, given it’s based on a play, it’s Deepak Antani, who impresses with his Gandhi act. This Gandhi, unlike its earlier reel attempts, is more human, and accepts when he is wrong and is able to right those wrongs. Chinmay Mandlekar gets Godse’s wrath right and his passion for Akhand Bharat of his dreams. Tanisha Santoshi, director’s daughter, who debuts in this film as Sushma, portrays a woman caught between love and duty just fine, although not many women look pretty crying, which she has to do aplenty. Anuj Saini, who debuts as Naren, lives the part well. This rather sensitive film has moments of humour and much of it falls in Madhu Kandhari’s lap, who plays Sushma’s mother and shares name with Gandhi’s goat Nirmala.

Credit goes to Rishi Punjabi’s cinematography as he recreates 1940s. A particular scene of Gandhi being followed by villagers at night holding mashaals is shot spectacularly. It’s the sound design by Resul Pookutty that hits the high note, including AR Rahman's Vaishnav Jan To and Raghupati Raghav Raja Ram that make a timely appearance. Dialogues, rather simple, convey a lot, and make sense, especially in today’s polarised world. The film may be just a fictional take, and veers towards one side over the other, it makes certain valid points. To hear the other side, to experience the reality that you are ready to do or die for and accept when you are wrong. If only each one of us subscribe to these three, even if we can’t change the painful past, we certainly have a better present and finer future!