I watched
this very disturbing movie recently. The film has won critical acclaim, and if
the director’s aim was to stir the audience’s sympathy for the central
character, he has succeeded more than well indeed.The details you can pick up
from the links provided. First off, a salute to Irrfan (Khan): he is
unquestionably the best character actor in Hindi moviedom today, and he seems
to be getting better all the time. He’s done it without conventional he
man/chocolate boy good looks or big family connections or money to help
him, too. As with Tom Hanks and a few others, I can say I shall be glad to
watch any movie if I know he is in it.
A thumbnail
sketch of the plot of this biopic: Paan Singh Tomar was a real life character,
a poor Kshatriya farmer who came from the hinterland of western Madhya Pradesh,
joined the Indian Army (though his mama was
a brigand who, he boasted, was too clever to be ever arrested), rose to the
rank of subedar, shone brilliantly as a sportsman at the national level and
even participated at the Tokyo Asiad. Then he got embroiled in a family quarrel
over land holdings, quit the army, suffered a very rude shock when both his son
and mother were brutally beaten up by hired goons and the police and district
collector refused to look deeply into his complaint, and eventually turned into
(yet another-) much feared dacoit of the Chambal valley. He killed and
terrorized a lot of people for a while, gave a self-justifying newspaper
interview which made waves, got a price on his head, managed to put his son in
the army which he still revered, and was finally killed in 1981 in an encounter
with police special forces after he was betrayed.
The movie
deals with several important issues swiftly but expertly. How shoddily sports
and sportsmen are treated in India is deeply underscored (there is a list of
big achievers at the end who died in obscurity and poverty) – apparently Paan
Singh’s greatest grudge was how the police treated him as an importunate nobody
despite his medals, and his greatest boast (always uttered with a sad snigger-)
was that everybody sat up and took notice only when he turned ‘baaghi’ (rebel) and started killing
people. No wonder we do so badly at the Olympic Games: it certainly isn’t just
a matter of money. And no wonder crime attracts so many in India who are in
desperate straits, either. One also realizes how deeply caste and caste-based
iniquity is still rooted in the social psyche of rural India. I don’t really
know whether things have changed much in this regard in the thirty years since
Paan Singh died; the newspapers don’t give much reason for hope. The army has
been held up as the last bastion of honesty, integrity, hard work, good
fellowship, patriotism and that sort of thing, and yet there are contradictions
even here: Paan Singh himself tells a superior in a certain scene that there
are a lot of good-for-nothings among the officers he knows (and this was as
early as 1960!), and his mentors were so incredibly callous (or stupid?) that
they sent him to compete in the Asiad without even telling him beforehand that
he had to run not in ordinary flat-soled canvas shoes as he was used to but in spiked boots, which
virtually crippled him on the track. The little romantic interludes with his
very tradition-minded wife are touching. Shooting at the Roorkee cantonment and
in the actual Chambal ravines has added interesting realism to the visual
content.
But then I
said I found it disquieting too, not least because there are different voices,
and different versions of what really happened. Tomar’s (now-retired) son has
said in an interview that it is the police that make dacoits in the Chambal
valley (that is not really a revelation; it’s been that way for ages, since
before the British came to India); he has also said that the movie is ‘85% true
to life’: I wonder which 15 per cent is not. The police have been demonized in
the movie, and it shows that they arrived in overwhelming force to trap and
kill the dacoit (who has been portrayed as a reluctant and deeply unhappy
almost-Robin Hood), so there was nothing heroic about it, just a government
orchestrated massacre. On the other hand, in this interview the police officer
who was in charge of the operation, DSP Mahendra Pratap Singh Chauhan (also now
retired) says it was a straightforward ‘taking out’ of a notorious and unpenitent
criminal who refused to surrender and for whom there is no reason to feel the
slightest sympathy, regardless of his army service record and his sporting
achievements. Also, that this was a ‘routine job’ for him as an anti-dacoity
operative, so he has no special emotional attachments to the memory, he has not
bothered to watch the movie because he is sure that a trivial criminal would be
glorified to the discredit of the duly constituted arms of the law; indeed, he
sounds almost proud that it was done with so little resources (six constables
rather than almost five hundred as shown in the movie), and without a single
casualty among the police. I wonder now, what should I think about it all? Who
are the real heroes and villains in independent India? Better people than me
have found themselves at a loss, this much I know…