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Sardar Udham Singh, during one of his last days in the prison, says that the Jallianwala Bagh Massacre, that took place on April 13, 1919, might be a footnote in the British colonial history of the Indian continent, written in fine print at some corner in their document, but the incident forced him to stare into the face of death. He sets out in search of Michael O’Dwyer, the Former Lieutenant-Governor of Punjab, after successfully absconding the Indian continent post-release from prison, and assassinates O’Dwyer on March 13, 1940, at the Caxton Hall in London, United Kingdom.
However, this seemingly simple story is complicated by Singh’s journey across Europe to gather momentum for his revolutionary goals and a wide amount of undisclosed material about him, leading director Shoojit Sircar, famous for his films Vicky Donor (2012), Piku (2015), and October (2018), among others, into crafting the story of a spectre-like character, Udham Singh, meticulously. With a runtime of 162 minutes, Sardar Udham unfurls Singh’s story slowly and steadily, leaving us with an insight into the corridors of the British legal system and the colonial attitude towards the Jallianwala Bagh Massacre.
The first hour of the film constantly jumps back and forth in time – from London, 1934 to Lahore, 1927 and USSR (former Soviet Union), 1933. It heavily fractures the narrative, and it threatens to leave the audience gaping for an anchor, losing their interest. However, DOP Avik Mukhopadhay and production designers Mansi Druv and Dmitrii Malich (international) successfully bring to life these specific periods in time, poised between the two World Wars in different European cities, through their brilliant frames. Finally, the film settles into a past-present narrative movement in its later half, juxtaposing the cold, steely colours of a London street against the sepia-tinted happy days from Singh’s memories in Punjab.
The Jallianwala Bagh Massacre also comes to life in all its gory, bloody details, right from its moment of conception to its harrowing, spine-chilling aftermath. While few Bollywood films have previously sought to venture into bringing out a flavor of this heinous massacre on-screen, including Rang De Basanti (2006) and Phillauri (2017), their efforts mostly brushed the surface lightly.
Sircar delves into the details fearlessly, showing us a young Udham Singh tirelessly ravaging through the multitude of dead bodies at the site, fishing out the wounded on a trolley cart. In a particularly heartbreaking scene, Singh sits helplessly facing a little girl, who is calling out for her mother, at the site.
Vicky Kaushal, who plays the role of Sardar Udham, acts with superb ease as he sifts through the roles of a lover, a tortured prisoner under British administration, and, most importantly, a revolutionary. He flares up in anger, revealing his socialist ideology, at certain times, and calls out, “Koi zinda hai?” (Is anyone alive?) after the massacre with equal amounts of pathos. In one of the first scenes, where he is walking across a bleak, snowy landscape in the USSR, his tiredness holds up, and so does the metaphorical difficulty of his journey in life.
