Director Shoojit Sircar says it is “overwhelming” to see audiences connect with the ideas of equality and unity presented in his film. Sardar Udham, a period drama that takes the audience back to the 1919 Jallianwala Bagh massacre through the eyes of Udham Singh.
Sardar UdhamTitanic, based on the life of the revolutionary who later assassinated the then former Punjab governor Michael O’Dwyer in London, has garnered critical acclaim from critics and audiences alike since its release on Prime Video earlier this month. is receiving.
As someone who has always looked up to freedom fighter Bhagat Singh and his writings, the filmmaker said that he did not want to make the Vicky Kaushal starrer into a revenge story, but wanted to delve deeper into what made him and what other young revolutionaries were inspired to do. He finally did the way.
Sarkar said, “I wanted to say that this is not just a story of revenge. Udham Singh was not just in London to seek revenge. He killed O’Dwyer (in 1940), probably because he had no other choice.” No, that’s what I thought.” .
“The line (between a terrorist and a revolutionary) is very thin… For them (British), he was probably a criminal or a terrorist, but for us, he was a revolutionary. So I left the decision to the people on my own. On breath,” he said.
Known for films like Vicky donorhandjob Pikuhandjob OctoberAnd Gulabo SitaboSarkar said that the team has done extensive research to craft some of the key moments in the film, which has been appreciated for its restrained portrayal.
“The kind of reactions and connections film lovers are able to make is overwhelming… It is more satisfying that the film is connecting with people. If this film can unite so many people to think similarly, I Seems like this is the most important thing… that there are a lot of people who think so,” Sarkar told PTI in an interview.
The director said that both Amol Parashar and Bhagat Singh, played by Kaushal’s Udham Singh, discussed their ideas about freedom, equality and revolution, which was crucial to the film.
“So the argument that ‘What were you doing when you were 23?’ And that ‘Youth is a gift of God’, it is universal, and not limited to just our freedom struggle or anything in the present context. This was a very important and relatable fact, which connected me to the story of a human being: ‘Your What are expressions? Are you thinking right or not?’ “All these factors and especially the talk about similarities is really what this film proposes… we are still not equal and now we are very much divided. I’m not just talking about money or economics… I’m saying otherwise, there are many things that are dividing… and even now, we can relate to it,” he said, fussy. Singh, identifying himself as ‘Ram Mohammad Singh Azad’ for the British, said it was a revolutionary way of talking about India’s ‘unity in diversity’.
Sarkar has often talked about how he waited almost two decades to make a film on Udham Singh, but revealed that he wanted to make his directorial debut with a film on Bhagat Singh.
The director, who went to Delhi’s Shaheed Bhagat Singh College for higher studies, said, “I have been a great follower of Bhagat Singh’s work and life. I was a fan of Bhagat Singh when I was in college.”
“The first film I wanted to make was Bhagat Singh, but at that time he was flooded with films. So I took a step back because my Bhagat Singh was a normal romantic guy like this movie. Of course, he was way ahead of its time.” Talking about his visits to Amritsar’s Jallianwala Bagh, the filmmaker said in the film, he tried to capture the spirit that the historical site evokes in him.
The film’s back-and-forth script structure was also informed by the manner in which Udham Singh was discovered by the government, first reading about the assassination of Punjab Governor O’Dwyer, who attacked the peaceful protesters at Jallianwala Bagh with Brigadier-General. Dyer’s firing action was condemned. The dreadful day of April 13, 1919, in which hundreds of people including children and women were killed.
The director said that he did not want to shoot a murder scene in a studio in Mumbai and found a place like Jallianwala Bagh to shoot the sequence.
“The toughest decision was to maintain continuity for the post massacre sequence as it went on all night but we shot for about 18-19 days for that particular sequence.
“To keep it completely organized in terms of the statements of the survivors, which are all in the archives … We wanted the sequence to be exactly as it was mentioned in those accounts. It was a big task for us. ” Another creative decision that the director took was to keep the Jallianwala Bagh sequence at the end and show O’Dwyer’s murder in the beginning.
“The film doesn’t tell everything completely. I have left it for people to think for themselves,” he added.
Asked about the delicate balance of making a patriotic film without exaggerating facts or dialogues, as is the norm in many Bollywood films today, Sarkar said he is someone who finds beauty in the ordinary.
“When ‘October’ released, many people found the story slow but for me, that was the most fascinating thing. I’ve lived that life in a hospital. So I know how you spend time with a coma patient .
“To me, it’s actually more poetic than being slow and boring. It’s the same thing. I think there’s a sense of beauty in being normal, and a sense of mysticism.”