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Review of the film Swatantrya Veer Savarkar: There is little question about the film’s almost worshipful tone towards the lead character, and it seems like Randeep Hooda wanted to make up for past wrongs against his hero.
This biographical movie is exactly what it sounds like it will be: a story told entirely from the perspective of a complex and endlessly fascinating figure whose growing fanaticism was concealed by a piercing intelligence and an unwavering conviction that he was right and that everyone else, including Mahatma Gandhi, was wrong. Vinayak Damodar Savarkar was a fiery ideologue and orator who popularised the idea of Hindutva.
It should come as no surprise that Randeep Hooda, who has consistently demonstrated his acting prowess, plays the title part with total conviction. Given that he co-wrote and co-produced the movie, it makes sense. What does surprise is his directing skills; throughout this three-hour film, which is driven by both his powerful acting and his voice-over, which blatantly show and tell, he employs stylized staging and a sense of dramatisation.
What we get is a thorough biographical sketch of Savarkar, with the narrative starting from his early years and showing us his intense, enduring love for his older brother (Amit Sial), his time as a Pune college student who stood out from his peers, his marriage to the lovely and devoted Yamuna (Ankita Lokhande), his warm reception at London’s India House and his education about revolutionary movements taking place in Italy and Russia, his arrest and deportation to India with a botched attempt at freedom (leaping from the ship into the ocean), his years at Kala Paani Jail, where he endured unrelenting torture, and his intermittent bursts of release, all of which contributed to his continued rise in the eyes of those who shared his philosophy.
It’s possible to claim that Hooda wanted to make up for past wrongs he felt his hero had suffered, and the film’s almost worshipful attitude towards the lead actor is undeniable.
However, the film suffers from its persistent mockery of his peers, particularly Gandhi, who is presented as helpless, incompetent, and the architect of the Partition. Nehru, who is likewise disliked by people who support a particular perception of India, is seen grinning at an Englishwoman while covered in cigarette smoke; this last action is not a scene, but rather a sneer.
“Gandhi, is it really that bad? This statement, with its barely concealed disdain, might make the audience chuckle in the theatre. Yes, we live in a modern society, but they are cheap shots.
Furthermore, they downplay this portrayal of Savarkar, who, in his own judgement and that of the many others who shared his belief that armed revolution was the sole means of overthrowing the British, only got stronger with time. The movie begins by saying that although we have been taught that nonviolence is the source of our freedom, this is not that movie, and we are prepared to hear a different viewpoint.
But there’s much more to this. at this parallel reality, Savarkar’s repeated pleas for pity to the British during his incarceration at the infamous Andaman prison magically transform into rational tools. .
And that his support of Hindutva, his leadership of the Hindu Mahasabha, and his call for a Hindu Rashtra were not as exclusive as Gandhi’s acceptance of all people; in these sections of the movie, there is both blatant obfuscation and deceptive confusion.
The entire movie would have been enhanced if these representations had been more balanced. For example, when the Mahatma is killed, Savarkar is shown disparaging Nathuram Godse in passing, stating, “usse woh nahin karna chahiye thaa,” before immediately returning to his place.
A powerful feature is the array of young rebels being sent to the gallows, the noose, and their faces framed against a black screen, featuring Madanlal Dhingra and Chandrashekar Azad. It is also a narrative of the formation of a nation and the figures involved in the liberation war.
It’s amazing how well Hooda captured Savarkar’s bodily changes in prison his teeth decaying and his ribcage sticking out while also managing to capture an incredible likeness to the real man. However, because of its one-sidedness, it is ultimately reductive and blatantly one-sided.
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