Hallah mat bol, Mangal Pandey....
Mangal Pandey ** 1/2 Dir: Ketan Mehta Starring: Aamir Khan, Toby Stephens, Rani Mukherjee and Amisha Patel The Plot: Director Ketan Mehta sweeps you back to 1857 when India was still grappling under the might of the East India Company. Indian soldiers spread across the country fought wars for the British in mute silence, despite living in penury themselves. Mangal Pandey (Aamir Khan) is just another sepoy, ready to lay down his life for the force. His best friend is a white man, Gordon (Toby Stephens), whose life Mangal has saved during a battle in Afghanistan. The problems begin when the British introduce a new rifle, which has its cartridges smeared with animal fat. Mangal and his entire regiment revolt against the new cartridges on religious grounds. What begins as a mere rebellion against artillery eventually translates into a nationwide movement. Mangal Pandey is punished for his actions and subsequently hanged but he succeeds in laying down the foundation for an upcoming freedom struggle. What to Watch For: Mehta succeeds to a great extent in establishing the friendship between Pandey and Gordon, which is the primary element in the first half of the film. The subtle usage of humor is also refreshing. Scenes like Gordon and Pandey pulling off pranks after getting blown over bhaang; the camaraderie between Mangal and a low-caste sweeper; the directors narrative on the opium trading by the Company. The second half is when the action begins, leading to a rousing climax, which is the best part of the film. Mangal Pandeys unmitigated defiance at Behrampore is soul stirring, as is the scene where Pandeys regiment surrounds the British force with lanterns. The last scene of the film that shows Pandeys public hanging has a lingering impact. Aamir Khan establishes his position as one of Indias finest actors yet again such fine blend of brooding intensity coupled with a restrained display of frustration and vulnerability is rare. His impassioned plea to his fellow soldiers in the climax is a treat to watch. Toby Stephens matches him at every step and performs with equal finesse, despite the language barrier. The Sore Points: The story of Mangal Pandeys rebellion didnt need 18 reels but to elevate the flow (probably to create an epic-like feel), Mehta adds in fictitious plots and events with a screenplay thats thoroughly predictable and dreary. For the international audience, this is a treat because Mehta offers everything they love to devour about India: poverty-struck villages, caste differences, public auctioning of women; theres even a Sati scene and a colorful Holi. At times, the film looks like just a glossy version of Manoj Kumars Kranti (dont miss Tom Alter). The dialogues couldve been less corny try this: Mangal telling Gordon, Sadiyon ki ghulami ney hamare dimaag mein jung laga diya tha. Zara si charbi ney saaf kar diya. Or when a British officer is told, Sir, yeh log goli bandook mein nahin dalenge, he turns around and asks, Toh phir kahan dalenge? Spare us the drama Ketan whats with Aamir-Rani sindoor scene in the jail or the filmi sword-fighting contest between Aamir-Toby that looks straight out of Dharam Veer? Both Rani Mukherjee (who plays Heera, a prostitute in love with Mangal) and Amisha Patel (the widow whos protected by Gordon) have nothing to do were these characters real or just added for the glamour quotient? Rahmans score is a huge letdown except for the Mangal Mangal number. Analyse That: Sadly, The Rising has a very masala look and feel to it and that may be its biggest undoing. Kiran Khers low-cut blouse in her introductory scene reveals new facets of her personality. Ranis red chiffon-draped (with laces) mujra is reminiscent of Zohrabai from Muqaddar Ka Sikandar, with even the kotha looking as glamorous. Mehta also adds an item number with two girls furiously gyrating and rubbing their bodies against one another. And the actors playing Nanasaheb Peshwas messenger, Rani Lakshmibai and Tatya Tope look like brand ambassadors of Maganlal Dresswalla. The Verdict: Now were sure that Bhavni Bhavai (later remade as Mirch Masala) will remain Ketan Mehtas first and last pioneering effort. As for The Rising, its a modern-day Kranti only Aamir Khan makes the difference. The film is worth it only for him the actor of the year. "We neglect our cities at our peril. For, in neglecting them, we neglect the nation." -John F. Kennedy ------------------------ Yahoo! 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