In ‘Mangal Pandey,’ the integration of elements sometimes feels synthetic, other times evokes sympathy, and occasionally falls into the realm of the pathetic. The effort to portray a slice of history is divided into compartmentalized kitsch. A. R. Rahman’s musical contributions don’t compensate for the disappointment. Aamir Khan’s performance is perceived as ‘polished.’ With his physical transformation, he appears tanned, possibly with boot polish, to play Mangal Pandey, a figure rightfully recognized as a leader in India’s fight for freedom from colonial rule.
The script’s harshness and flaws are often more oppressive than the brutal ‘Gora Log’ (white people) with their seemingly readily available costumes. The colonial forces in ‘Mangal Pandey: The Rising’ (shouldn’t the title have been ‘The Uprising’?) with their red uniforms represent a subverted display of Nazism. It resembles a staged act.
The characters, especially the white ones, lack a sense of lived experience. Cosmetic colonialism worked better in Manmohan Desai’s ‘Mard,’ where Bachchan’s character towered over the ‘Gora Log’ with a commanding presence.
In this film, Mehta is expected to deliver more subtlety than is achieved in the entire patriotic tale. The build-up in a scene often outweighs the final outcome.
Of particular concern is the relationship between Aamir and Rani’s characters. Their relationship, echoing the Devdas-Chandramukhi dynamic (he recoils when the prostitute tries to touch him), lacks depth.
Rani’s character is inconsistent with both history and the film’s tone. She shifts from being auctioned to a British woman’s disgust, to performing a sensual dance in Madame Kirron Kher’s ‘kotha’ (a nod to Sanjay Bhansali’s ‘Devdas’).
Instead of playing her role with poignancy, Rani’s Heera is saucy and playful, like a Babli of the flesh trade.
Amisha Patel’s brief cameo as Jwala is well-received. The scene where the British officer Gordon, with Mangal, rescues her from the barbaric Sati ritual is shot in striking colors. She later has tender moments with her ‘Gora’ rescuer.
More scenes exploring the Jwala-Gordon relationship would have been appreciated instead of the obligatory love scene.
The visuals do not build a strong narrative. Ironically, Gordon is a more appealing character than Mangal Pandey. The white man’s colonial dilemma is well-portrayed by Toby Stephens, an actor who deserves more recognition. It is a rare instance of a foreigner in a Hindi film receiving applause without the audience understanding what he’s saying.
Aamir’s mustache and bulging eyes do all the work for his character. Whether this is due to the script, character development, or the actor is unclear. Mangal Pandey seems more a cardboard hero than an independence martyr. The climactic scene is well-shot but undermined by editing issues.
The scenes meant to highlight Mangal’s heroism are ludicrous. “I AM Hindustan,” Aamir declares, sounding like a child playing a game.
Without irony or modesty, Aamir’s Mangal Pandey is a self-important comic-book hero, hindered by the actor’s inability to connect history with cinematic heroism.
Aamir’s Mangal Pandey feels trapped.
Unlike ‘Lagaan,’ where the hero stands out from the background, Aamir never shines in ‘Mangal Pandey.’ He remains shadowed.
There are many supporting actors and junior artists reflecting nationalist solidarity. Rani Mukerji even rides a horse. They seem like afterthoughts.
The most uncomfortable moments are those of vulgarity. A peasant operates a fan for a sleeping British woman with suggestive movements. A man auctioning Heera offers to pull down her ‘ghagra’ for better satisfaction. The film also overuses revealing scenes.
The story lacks depth. Mehta’s epic vision is appreciated. Nitin Chandrakant Desai’s artwork and Himman Dhamija’s cinematography enhance the visuals. However, they fail to create the blend of epic and pleasure that makes historical events engaging on screen.
Faroukh Dhondy’s script leans more towards Bollywood than history. Mehta seems to be moving away from his previous image by creating a Bollywood spectacle.
The result is a film that’s more hysterical than historical, more corny than captivating. The film has brilliance, but if you want Mehta’s blend of socio-political themes, see ‘Mirch Masala’ or ‘Bhavni Bhavai.’
