Indu Sarkar Review: It’s A Fairly Inaccurate Account Of The Emergency
Cast: Kirti Kulhari, Neil Nitin Mukesh, Anupam Kher, Tota Roy Chowdhury
Director: Madhur Bhandarkar
Music Director: Anu Malik
Indu Sarkar is a classic example of why political movies are made with much difficulty, why controversial “facts” need to be “cut out of films” and why no true and authentic information can really be put out there, and this is irrespective of which government is in power.
We all know Madhur Bhandarkar‘s style, we’ve witnessed powerful story-telling in all his films, be it Chandni Bar, Page 3, Traffic Signal or Fashion. But Indu Sarkar does not match the standard. And we can’t really complain because he faced a lot of pressure, mainly from the political front, against the film, which is about the events that led up to the country’s most turbulent period – the Emergency which shrouded in from 1975 to 1977.
As the name suggests, the film is about Indira Gandhi’s rule and how her husband, who was a government employee, used the state of emergency to go ahead in his career, while she sets out on her own path.
The picturization clearly shows how Bhandarkar carefully measured every step he took and he sort-of just broke his real-story telling technique by adopting a vague superficial subject.
Indu, played by Kirti Kulhari, is like a fictitious character put in a factual setting. She is an introvert orphan who stammers but manages to find a companion in Navin Sarkar, played by Tota Roy Chowdhury. He turns out to be the only person who looks beyond her stuttering and the only one who asks her what she really wants from life. And she understands the answer to it only after their wedding.
When she sees her husband conspiring with other ministers to allegedly bend the rules of the Emergency and make the most out of it for themselves, her moral forces her to become rebellious.
Hurried in montages, the film is a fairly inaccurate account of the Emergency. The party leaders are shown overtly villainous, while the other faction is shown overtly righteous. There seems to be a lack of neutrality.
Moreover, some really brilliant dialogues get lost in cliches, and just half way through the film you’ll see the pace lowering.
However, the protagonist’s emotional struggle has been well-delivered, and Indu and Navin’s story in itself is also very pleasing, keeping aside their political interests.
We won’t call it a must watch, but you can most definitely opt for this one over the other horrendous flicks like Jagga Jasoos and Munna Michael that are surprisingly still running in theatres.