Lamhe (1991)

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This week, on 21 October, we observe the death anniversary of Yash Chopra, one of the most influential filmmakers in the history of Hindi cinema.

Yash Chopra began his career as a director with Dhool Ka Phool (1959), produced by his elder brother, B. R. Chopra. He went on to direct films such as Waqt (1965), Aadmi Aur Insaan (1969) and Ittefaq (1969), establishing himself as a filmmaker with a distinctive style. In 1973, he produced Daag: A Poem of Love, the first film under his own banner, Yash Raj Films. The rest, as they say, is history!

He continued to work with some of the biggest stars in the industry, delivering films that went on to achieve iconic status. Although widely known as the King of Romance, Yash Chopra also explored other subjects through films such as Deewaar (1975), Trishul (1978), Kaala Patthar (1979) and Mashaal (1984). His final directorial venture, Jab Tak Hai Jaan, was released in 2012, shortly after his death.

I decided to write about one of his films, but selecting just one was obviously a challenge. Then I remembered that Yash Chopra had often spoken of Lamhe (1991) as one of his finest works and was particularly proud of the film’s legacy.

Lamhe dealt with a rather unconventional and sensitive subject: a man falls in love with a woman who eventually marries someone else. Years later, he finds himself falling in love with her daughter. The audience was perhaps not ready to accept this unusual premise, and the film failed at the box office despite its many merits. These included its stellar cast, memorable performances and, of course, its outstanding music. It can certainly be said that the film has aged like fine wine. With the passage of time, its appeal has only grown stronger, and what may have seemed unconventional when it was first released now feels more meaningful.

The Plot

The title song begins and the viewer is introduced to the desert landscape of Rajasthan. We are introduced to Viren, short for Virendra Kumar Singh (Anil Kapoor, without his trademark moustache). Around 18–19 years old, Viren is visiting his ancestral home in Marwar, Rajasthan, for the first time. His father had migrated to England before Viren was born.

Accompanying him is Durga Devi (Waheeda Rehman), whom he affectionately calls Dai Jaa. She has looked after Viren since childhood and continued to care for him after the death of his parents. Viren regards her as a mother figure and a constant source of support.

Having grown up abroad, Viren finds himself uncomfortable with the harsh desert climate and the inconveniences of life in Rajasthan. However, Dai Jaa gently helps him understand the significance of local customs, traditions, and ways of life, encouraging him to respect his ancestral roots. Viren, meanwhile, has little intention of settling down in Rajasthan. His plan is simply to attend to a few property-related matters and return to England at the earliest opportunity.

Viren arrives at his grand haveli, where he soon receives his first visitor, Kothiwale Thakur (Manohar Singh), a neighbour and a close family friend. Thakur shares a long-standing bond with Viren’s family and was the only person who stood by Viren’s father during his difficult times. Genuinely delighted by Viren’s arrival, he welcomes the young man with warmth and affection.

As Viren settles into his room, he hears a group of women singing nearby. Drawn by their voices, he steps out during a thunderstorm and discovers a young girl dancing with her friends in the rain. This leads to the vibrant rain song Megha re megha. Viren is instantly captivated by the young girl’s beauty and grace and finds himself wondering who she is.

The next day, Viren wanders through the desert, his thoughts returning to the mysterious girl he had seen dancing in the rain. He thinks he spots her and follows her as she makes her way into a local market. Later that night, at the neighboring Thakur’s kothi, Viren is pleasantly surprised to see the same girl arrive and mingle with the guests. She is introduced to him as Pallavi (Sridevi), Thakur’s daughter. Although deeply rooted in tradition, Pallavi is friendly, warm, and at ease in Viren’s company, interacting with him as though they have known each other for years.

Pallavi is older than Viren, but the age difference does not bother him. He is simply overjoyed to have found the girl who has captured his imagination and is delighted to discover that she is someone he can get to know better.

The next morning brings another musical interlude. Pallavi sings the devotional number Mohe chhedo na Nand ke lala. Once again, Viren is drawn to her, unable to take his eyes off her. There is an endearing innocence about him, as he finds himself increasingly captivated by Pallavi.

Pallavi asks Viren to be ready the following day, promising to show him around Rajasthan. He eagerly looks forward to spending time with her, although the excursion comes with a few conditions! He must dress like a local in traditional Rajasthani attire and travel by camel rather than enjoying the comforts of an air conditioned car. Somewhat awkwardly at first, Viren gradually adapts to these unfamiliar ways and ends up having a delightful day exploring the countryside in Pallavi’s company.

As the sun sets and dusk gives way to night, a woman (Ila Arun) sings a folk song. This leads into the ever popular Morni Baagaa Ma Bole. Against this picturesque backdrop, Viren becomes increasingly enchanted by Pallavi. Her beauty, her singing, and her graceful dancing draw him further into her world. What begins as fascination gradually takes on the hues of a deeper emotional attachment.

However, a dramatic turn of events is just around the corner. Pallavi’s father, Thakur, is embroiled in a property dispute with his step-relatives. He receives the devastating news that he has lost the case and, with it, virtually everything he owns. He will even have to vacate his beloved kothi. Pallavi, blissfully unaware of the crisis, has no idea that her world is about to change forever.

Unable to bear the shock, Thakur collapses and calls for help. Before passing away, he confides in Viren, entrusting Pallavi’s future to his care and declaring that she is now Viren’s responsibility. He then breathes his last.

At the prayer meeting, an emotionally charged scene unfolds. As Viren walks towards Pallavi, she suddenly rushes into the arms of another man, leaving him utterly stunned. The man is Siddharth Bhatnagar (Deepak Malhotra), an Air Force officer and the person Pallavi loves. Siddharth is an orphan, and Pallavi has kept their relationship a secret from her father.

A dejected Viren is at a loss about what to do. He has never confessed his feelings to Pallavi and now finds himself in a situation where he must put her happiness above his own. When he meets Siddharth, Viren assures him that he will make all the necessary arrangements for their wedding, which is scheduled for the following week.

Meanwhile, Pallavi’s greedy relatives are keen to take possession of the kothi. Viren confronts them and asks them to stay away until the wedding is over. This is a particularly impactful scene, showcasing Viren’s remarkable transformation. The young man who had arrived in Rajasthan, uncomfortable with its climate and customs, now deals confidently with the relatives, even paying them off to ensure that they do not interfere with the wedding. His firm and mature handling of the situation reveals a newfound sense of responsibility and authority.

Dai Jaa, in particular, is impressed by the way Viren rises to the occasion. He is no longer the carefree youngster she brought to Rajasthan; he has grown into a mature individual who understands the importance of standing by those who depend on him.

Pallavi and Siddharth are eventually married, and Viren, having fulfilled his promise to Thakur, leaves for England immediately afterwards, carrying his unspoken love with him. At this point, we are also introduced to Prem Anand (Anupam Kher), a close friend of Viren. He goes with Viren to England to help him overcome the turmoil that he is going through.

Pallavi and Siddharth begin their married life on a romantic note with the song Yaad Nahi Bhool Gaya. Just when everything seems to be falling into place, tragedy strikes. Siddharth dies in a motor accident. Pallavi survives the accident but passes away after giving birth to a daughter.

The double tragedy leaves Viren devastated. Having already sacrificed his own love for Pallavi’s happiness, he now finds it difficult to come to terms with her untimely death. Unable to cope with the emotional turmoil, he returns to London, leaving Dai Jaa to look after Pallavi’s infant daughter.

Dai Jaa names the little girl Pooja (Richa Pallod) and brings her up with the same love and affection with which she had cared for Viren. She sings her a lullaby, Gudiya Rani Bitiya Rani.

Viren visits India once a year to perform the shraddha ceremony in memory of Pallavi. Interestingly, the day also happens to be Pooja’s birthday. He brings her a gift but deliberately keeps his distance, leaving Dai Jaa to manage the situation. Pooja looks exactly like her mother Pallavi. Perhaps the sight of Pooja reminds him too painfully of Pallavi, the woman he loved but could never call his own. Pooja, meanwhile, longs for Viren’s affection and company. She knows him as Kunwarji and looks forward to his visits, unable to understand why someone who is so important to her remains so distant.

The long-awaited reunion finally takes place when Dai Jaa and Pooja come to England to stay with Viren. Pooja has always idolised Viren, but living under the same roof brings a new dimension to her feelings. At eighteen, she finds herself romantically attracted to him, while Viren (probably in his mid-forties) is living with the memories of Pallavi. The age difference doesn’t bother her. What Pooja experiences as love is, for Viren, still the affection he feels for the daughter of the woman he once loved.

Dai Jaa begins to suspect Pooja’s feelings for Viren after noticing a brief but telling moment. Concerned by what she observes, she later confides in Prem, who agrees with her.

Meanwhile, Pooja’s romantic fantasies find expression in the beautiful song Kabhi Main Kahoon, picturised against the picturesque landscapes of Switzerland. The song captures the dreamy, idealistic world of a young woman in love, even as the audience becomes increasingly aware of the complicated emotions at the heart of the story.

The one-sided romance between Pooja and Viren continues to unfold. We are also introduced to Anita (Dippy Sagoo), who is in love with Viren and hopes to marry him. However, Pooja’s growing influence over Viren and his own indecisiveness prevent Anita and Viren from taking their relationship forward. Their equation goes through repeated ups and downs, with the prospect of marriage appearing possible one moment and slipping away the next.

But what exactly is going on in Viren’s mind? Is he still unable to let go of Pallavi, the woman he loved but could never have? Can he separate the memories of Pallavi from the reality of Pooja, recognising that she is an individual in her own right, with feelings and desires of her own? And, ultimately, will he accept Pooja’s love?

These questions lie at the heart of Lamhe. However, the film takes its time getting to the answers, stretching the narrative before finally arriving at its much-anticipated climax.

The Music

Yash Chopra’s films are renowned for their memorable music, and Lamhe is no exception. The dependable composer duo Shiv-Hari reunites with lyricist Anand Bakshi after Chandni (1989) to deliver a bouquet of compositions that remain memorable even today.

The title song, Yeh Lamhe Yeh Pal Hum Barson Yaad Karenge, appears in patches throughout the film, particularly during the melancholic sequences featuring Viren. Sung by Hariharan, this soft, soulful number beautifully captures the lingering pain of unfulfilled love.

As expected, Lata Mangeshkar (LM) is the principal female voice of the soundtrack. She lends her voice to Pallavi, Pooja and Dai Jaa, bringing distinct shades of emotion to each character. However, one can sense a certain strain in her voice, while the compositions themselves are far from easy to sing.

Among the romantic duets, Yaad Nahin Bhool Gaya features LM alongside Suresh Wadkar, who provides playback for Deepak Malhotra. Another popular number is the dream sequence Kabhi Main Kahoon, sung by LM and Hariharan. Both compositions evoke the flavour of Raag Pahadi.

LM also joins Ila Arun for two contrasting duets. The first, Megha Re Megha, is a rain song with traces of Raag Malhar. The second, Morni Baagaa Ma Bole, is a chartbuster that blends Rajasthani folk lyrics with Hindi. Its use of Mishra Maand complements the film’s Rajasthani setting and lends the song an unmistakable regional flavour.

The devotional solo Mohe Chhedo Na Nand Ke Lala, based on Raag Bhairavi, offers a different mood altogether. This is followed by the short, tender lullaby Gudiya Rani, picturised on Waheeda Rehman. Another enchanting composition is Meri Bindiya Teri Nindiya, which draws on Mishra Khamaj. It is the final song in the film. Times have changed, and it is difficult to imagine Hindi cinema incorporating such songs and situations with the same ease today.

The soundtrack also features a medley of old Hindi film songs, sung by Pamela Chopra and Sudesh Bhosle. A fun-filled number, it does, however, feel a little too long, with several key characters joining in. Even Waheeda Rehman gets to dance to her evergreen Kaanton Se Kheench Ke Yeh Aanchal, adding a nostalgic touch to the sequence.

Yash Raj Films such as Chandni, Darr and Dil To Pagal Hai are also remembered for their evocative instrumental compositions. Lamhe has its own such moment in Moments of Passion / Rage, which accompanies the young Pooja as she vents her frustration after being slapped by Viren. The instrumental score adds another dimension to the film’s emotional landscape.

Finally, the songs deserve credit for their choreography by Saroj Khan, whose work helps bring out the mood and character of each composition. Together, the music, lyrics, singing and choreography make Lamhe a soundtrack worth revisiting.

My Thoughts

Lamhe is a thoughtfully conceived and beautifully made film. It is a visual delight, with its attractive cast and filming slocations adding to its appeal. The scenic beauty of Rajasthan in the first half of the film is beautifully captured by veteran cinematographer Manmohan Singh, whose visuals bring the region’s distinctive landscape and grandeur to life. The same applies for the UK scenes in the second half. Special credit must go to Honey Irani for the story and screenplay, and Dr. Rahi Masoom Raza for the dialogues. Their work earned them the Filmfare Awards for Best Story and Best Dialogue, respectively.

The film also won Filmfare Awards for Best Film (Yash Chopra), Best Actress (Sridevi) and Best Comedian (Anupam Kher). Much has been said and written about Sridevi’s performance in Lamhe, and deservedly so. She brings both Pallavi and Pooja to life with remarkable finesse, giving each character a distinct personality, mannerism, and emotional identity. It is a performance that showcases her extraordinary versatility as an actor. But I would also like to acknowledge Anil Kapoor’s satisfying portrayal of Viren. His transformation from a shy young man into someone who must confront complicated emotions is convincing. Even as he matures with age, he struggles to face the truth, and the actor captures this inner dilemma effectively.

Waheeda Rehman is excellent, bringing warmth and grace to her role. Anupam Kher, in his talkative and childish avatar can be irritating at times, but he impresses in the more serious scenes. His confrontation scenes with Anil Kapoor keep reminding you that he is such a good actor.

One drawback is perhaps the film’s length of more than 3 hours. The second half could have been tighter. It must have been disappointing for Yash Chopra that Lamhe did not perform particularly well at the Indian box office upon its release. But he had faith in his creation. Over time, it has acquired cult status. Its performances, memorable music and nostalgic moments continue to resonate with audiences, ensuring that the film remains a much-loved part of Yash Chopra’s legacy.

Rajwade and Sons (2015)

My Reviews,

Sachin Kundalkar is a well-known director in Marathi cinema, recognised for exploring a wide range of subjects. Human relationships, emotional yearning, and questions of identity are recurring themes in his films, and Rajwade and Sons (2015) is no exception.

As the title suggests, the film revolves around the Rajwade family, a well-established business family spanning three generations. It explores how these generations interact with one another, navigate conflicts, and respond to changing times and perspectives. Beneath the family drama lie some thought-provoking questions. Can financial security and material comfort truly guarantee happiness? What happens when the life we have grown accustomed to begins to feel restrictive? And, perhaps most importantly, do we have the courage to step out of our comfort zone and question the choices we have always taken for granted?

The Plot

The Rajwade family owns a prestigious jewellery business in Pune, and the name commands considerable respect across the city.

The film opens with the entire family moving out of their old bungalow in the heart of Pune. As part of a redevelopment project, the property is set to make way for a high-rise tower. In the meantime, the family relocates to another residence until the new building is ready.

At the helm of the Rajwade family is Rameshrao Rajwade (Satish Alekar), a staunch traditionalist who firmly believes in upholding age-old values and customs. He exercises tight control over the family business, with his two sons and son-in-law expected to follow his orders without question. In the Rajwade household, joining the family business is not a choice but an expectation passed down from one generation to the next. Pursuing an alternative career is simply out of the question. Even following one’s personal passions is discouraged, as anything that might affect the reputation and image of the family’s jewellery business is considered unacceptable.

Even when it comes to the redevelopment project, Rameshrao presents his design to the family members, who accept his decision without question. His authority within the family is such that his choices are rarely challenged.

His wife, Susheela (Jyoti Subhash), is the matriarch of this affluent household. A sensible and level-headed woman, she has spent years following her husband’s wishes, accepting his decisions as a way of life.

Rameshrao’s two sons are Vidyadhar (Sachin Khedekar) and Shubhankar (Atul Kulkarni). Vidyadhar’s wife is Sarita (Poornima Manohar) while Shubhankar’s wife has passed away and he has a school going daughter Tanmaya. Rameshrao’s daughter, Laxmi Joshi (Mrunal Kulkarni), is married to Vaibhav (Rahul Mehendale), who lives with the Rajwade family as their ghar jamai (a son-in-law who resides in his wife’s parental home). Vaibhav also works alongside his father-in-law in the family business.

Interestingly, the women in the family have little say in business matters. Although Laxmi is a director in the company, her involvement appears to be limited to signing documents as instructed by her father, without necessarily understanding the business decisions behind them.

Laxmi once dreamt of becoming an actor. During her college days, she had even performed in the acclaimed Marathi play Wada Chirebandi, which, incidentally, also revolves around a joint family. However, her aspirations were firmly dismissed by her father. As a Rajwade daughter, she was expected to uphold the family’s standing and remain rooted in Pune. The idea of leaving the city to pursue a career in the film industry was unacceptable to him. Instead, she was married off at a young age to a wealthy man.

It is evident that all three of Rameshrao’s children have grown accustomed to accepting their father’s decisions without question. The same expectations are likely to be imposed on the next generation. But will the younger members of the family submit to these conventions just as readily? Anay (Alok Rajwade), Virajas (Siddharth Menon), Shweta (Krutika Deo), and Ananya (Mrunmayee Godbole) represent the future of the Rajwade family. Through them, the film explores whether deeply entrenched family traditions can survive when confronted with a younger generation’s aspirations and desire for independence.

The younger generation of the Rajwade family has, in many ways, been born with a silver spoon in its mouth. Accustomed to a life of privilege, comfort, and financial security, they have enjoyed opportunities that many can only dream of. Yet, not everyone is willing to accept the future their parents and grandfather have mapped out for them.

The simmering discontent comes to the fore through an incident involving Ananya, Laxmi’s daughter. Ananya aspires to enter the modelling world by participating in the Miss Pune contest. She is also aware that Rajwade and Sons is looking for a model to showcase its jewellery collection. However, despite her interest, she is not even considered for the role.

When Ananya goes ahead with a photo shoot, the family convenes a meeting to address what they perceive as her unacceptable behaviour. The message is unambiguous: she cannot pursue her dreams because she belongs to the Rajwade family and must protect its reputation. Ananya challenges this reasoning, pointing out that their family’s reputation hardly extends beyond Pune.

Frustrated by the elders’ refusal to understand her aspirations, Ananya storms out of the meeting, with Anay following her. For the first time, the younger generation’s dissent becomes unmistakable. What was once simmering beneath the surface now begins to emerge as an open challenge to the family’s deeply entrenched values and expectations.

The elders often complain that the younger generation has received everything on a platter. But this raises an obvious question: whose fault is it? Aren’t the parents and grandfather equally responsible for bringing up their children in an environment where privilege comes with little freedom to make independent choices?

The younger members of the family carry on their carefree ways. They visit their old bungalow before it is demolished, having secretly arranged duplicate keys without informing the elders. During one such visit, they stumble upon a trunk and other belongings of Vikram Rajwade, Rameshrao’s son, who had left home many years ago after an “incident” that is never spoken about by the elders. Apparently, Vikram had also “stolen” some money when he left. His whereabouts remain unknown, and Rameshrao has made it clear that his estranged son will have no place in the redeveloped family residence or inheritance.

Then comes an unexpected turn of events. While the family is enjoying lunch, Vikram (Amit Riyaan) suddenly walks in. Having spent years away from home, he has built a life on his own terms, doing things that a Rajwade is traditionally not expected to do. He has worked independently, travelled abroad, settled down, and married. By all appearances, he has done well for himself without relying on the family or its business.

Vikram’s arrival affects every member of the household in some way, but it is the younger generation that is most deeply influenced. Here, at last, is someone from their own family who has dared to break away from its rigid conventions and chart his own course. His very existence challenges the belief that the Rajwades’ prescribed way of life is the only path to success and respectability.

Vikram is more than just an unexpected guest who gatecrashes the family’s comfortable existence. He is the rebel, the disruptor, and, above all, the catalyst who sets in motion a process of change within the Rajwade household.

Whether the younger generation will find the courage to take that leap is revealed as the film progresses. Along the way, there are some startling revelations about various family members which make things complicated as everyone struggles to come to terms with the reality and the way forward.

The Music

The film has only 2 songs (Tagmag and Mokale) which can be termed more as poetry set to tune. Tejas Modak is the poet and Debarpito Saha the composer.

My Thoughts

Sachin Kundalkar explores several themes in Rajwade and Sons. At one level, it is a family drama, but beneath the surface, it examines the patriarchal mindset prevalent in affluent business families, the position of women in family-run enterprises, and the struggle for independent thinking. The assumption that women are incapable of handling business affairs, or that younger family members must automatically follow in the footsteps of their elders, comes under scrutiny.

The bond between the siblings, both old and young, feels genuine. The older generation has largely accepted its circumstances and settled into the life laid out for them. The younger generation, on the other hand, appears carefree but carries an underlying sense of dissatisfaction. They have everything they could ask for in terms of material comfort, yet something seems to be missing. This contrast is one of the film’s more interesting aspects.

As far as the performances are concerned, most of the cast members leave a mark. However, Rameshrao’s character comes across as excessively rigid, almost incapable of understanding the changing aspirations and expectations of the younger generation. His assessment of Vikram, his intentions, and the approach e proposes lack the maturity and wisdom one would expect from an elderly family patriarch. Vikram’s character, too, feels somewhat vague at times, leaving certain aspects of his personality and motivations insufficiently explored.

The film’s resolution is another area that disappoints. The eventual outcome does not feel entirely convincing, and the narrative could have benefited from exploring the younger generation’s struggles in greater depth. What happens when they finally step outside the protective confines of the family business? Do they succeed in carving out independent identities, or do they discover that life beyond their privileged world is far more challenging than they imagined? Such an exploration would have lent greater weight to the film’s central questions.

Does the film serve as an eye-opener? The answer remains ambiguous. More importantly, does Rameshrao undergo any meaningful change of heart? This is a question the resolution could have addressed more convincingly.

One of the film’s strengths lies in the way the director plants seemingly small and incidental details from the very beginning and gradually connects many of them as the story unfolds. These subtle directorial touches add depth to the narrative and demonstrate his attention to detail. The film also benefits from its clean, glossy visual presentation, which complements the affluent world it portrays.

Ultimately, Rajwade and Sons raises relevant questions about privilege, family expectations, and the freedom to make one’s own choices. While its themes are compelling and its treatment often engaging, the film’s somewhat unconvincing resolution prevents it from reaching its full potential.

The Making Of The Mahatma (1996)

My Reviews, ,

With the approach of 2nd October and it being Mahatma Gandhi’s birth anniversary, comes the inevitable reminder of the many films and other content portraying his life, ideas and legacy. Among them, Richard Attenborough’s Oscar winning biopic Gandhi (1982) is perhaps the best known. Ben Kingsley’s portrayal of the title character was widely appreciated. I recall the film used to be telecast on Doordarshan, probably every year(?).

But Attenborough’s Gandhi is far from the only film to have explored the Mahatma’s life. One such creation is Shyam Benegal’s The Making of the Mahatma (1996) or its Hindi version Gandhi Se Mahatma Tak, which takes a particularly interesting approach: instead of beginning with the internationally recognised Mahatma Gandhi, it looks back at the young Mohandas Karamchand Gandhi (MKG) and the experiences that shaped him during his years in South Africa. The film ends at the point when Gandhiji ends his stay in South Africa after 21 years.

This movie was jointly produced by the National Film Development Corporation (NFDC) of India and the South African Broadcasting Corporation. It is based on the book Apprenticeship of a Mahatma by Fatima Meer. Rajit Kapur played MKG and won the National Film Award for Best Actor.

The Plot

It is 1892. A very young MKG (Rajit Kapur) lives in Rajkot with his wife Kasturba (Pallavi Joshi) and 2 sons Hiralal and Manilal. MKG is a qualified barrister at law from London. He has received a letter from South Africa. Seth Dada Abdullah, an Indian businessman is fighting a court case against his brother. MKG has been invited to support the handling of the case in addition to the other attorneys. Kasturba is not very keen when she hears this. Its been hardly a year since he came back from London. He tries to convince her. The pay will be good and he needs to spend only a few months abroad. The decision is made and he arrives in Durban in 1893.

MKG is about to have life impacting experiences right from time he arrives in South Africa. It is interesting to note that the young MKG would dress up in smart European clothes and consider himself at par with the other barristers, most of whom are British. Mr Baker is Abdullah’s advocate. He meets MKG and they go to the local court together. The judge asks MKG to remove his turban while he is inside the court room. (As per the rule only Muslims are permitted to wear a turban as part of their faith). MKG explains that removing the turban in front of the judge would mean showing him disrespect but the judge doesn’t care. MKG prefers to leave the court than compromise on his principles.

Later, he boards the train to Pretoria. MKG has a reservation in the first class compartment. A British man boards the train at Pietermaritzburg. He is furious to see an Indian (termed as coolie) in the compartment. MKG is ordered to shift to the luggage van that is fit for coolies. MKG refuses to budge from his seat and is forcefully thrown out from the compartment for the simple reason that he is not an European. MKG sits on the platform and ponders on the discrimination faced by him only because of his skin colour. He faces a similar situation when he reaches Charleston the next day. He has to travel in a horse coach in order to reach Pretoria. But he is not allowed to sit inside the coach because he is an Indian/ coolie. He can only sit with the coach driver. He opposes this rule but is insulted and gets beaten later.

On reaching Pretoria, he meets Mr. Baker. MKG tells him that he is unable to get a room in a hotel. Mr Baker explains it is on account of colour prejudice prevalent there. They have a talk about religion. MKG says he doesn’t know much about his own religion but would like to know about other religions. Baker invites him to attend a church sermon.

In another incident, MKG is thrown off from a pavement because the house next to it belongs to a British man (President Kruger). Coloured people are not allowed even to walk on the pavement of a European’s residence. MKG notes that being a barrister and a man of high status have no bearing on his place in society. He meets Tayyab Seth, Abdullah’s cousin. Over the next few months, he manages to attempt a reconciliation between the cousins and the case comes to a closure. It is time for MKG to leave for India. But the Indian people in Pretoria have other plans thanks to the British.

A new Indian Franchise Bill has been introduced due to which Indians would lose their right to vote. Further, this would lead to losing the right to trade, own property and finally the right to remain in Africa as British citizens. The Indians request MKG to stay and take up the case. He said there are other Indian attorneys who can do this. But apparently, the other attorneys are Christians and the other Indian communities do not trust them. MKG questions this reasoning but takes up the case.

The petition against the British is filed on behalf of the Indians, signatures are collected. MKG applies to practice as barrister in Natal. This application is approved in spite of opposition by the Natal Law Society. MKG realizes the need to bring the Indians together and form a regular association. This gives birth to the Natal Indian Congress on 22 August 1894. MKG is made the honorary secretary. As an attorney, MKG is introduced to more problems faced by the Indians. Indentured labour was a system of bonded, contract-based labour that European colonial powers used to replace enslaved labour after the abolition of slavery in the 19th century. These labour used to be mistreated and beaten by their European masters. MKG represents many such Indians in court.

Then there is the issue of the poll tax of 25 pounds per person in South Africa levied on adult Black and Indian residents, used as a tool for forced labor coercion and financial subjugation. MKG writes a pamphlet describing the inhumane nature of the conditions and opposing the tax implementation. The British are not amused and this results in more restrictive measures to avoid the influx of Indians into South Africa. MKG is attacked by some British men. He refuses to register a case against them stating their act of violence was a result of their ignorance.

These incidents continue and the Indian community suffers. MKG goes to jail multiple times. During the Boer War, he suggests that as a British citizen, they should side with the British. (They do so by acting as stretcher bearers to carry the dead and wounded from the battlefield.) MKG is of the opinion that this will demonstrate that the Indians are on the side of the British and it will be easier to gain concessions. But that is not what happens. The British only care about their interests and the rich resources of South Africa.

MKG starts a newspaper Indian Opinion and uses his resources to keep it going. But a time comes when the losses start mounting. He gets inspired by the writings of John Ruskin and starts a farm in Phoenix where they could grow their own food and carry out other activities including publishing the newspaper. It was also here that his philosophy of “satyagraha” took birth which became a means of non-violent resistance to take on the colonial power.

MKG continues with the struggle against the British who bring in more oppressive measures against the Indians. This culminates in to the historic “Great March” in 1913, where over 2,000 workers from Natal march across the border into the Transvaal region to protest against the discriminatory colonial immigration and tax laws introduced by the British.

In the midst of his fight for the rights of the Indians, we also come to know about the details of his family life. MKG doesn’t like the local Indian schools and he cannot send his children to the European schools. So he decides to teach them himself. His views on untouchability are revealed in the incident involving the chamber pot and there is a heated argument with Kasturba on this topic.

The family receives costly gifts when they are returning to India but MKG convinces his sons that the gifts should be returned. Kasturba doesn’t agree, she is a practical woman. She is already concerned because MKG has exhausted most of their resources including her jewellery. She is thinking about her sons’ marriages and the expense involved. Surely, these gifts would come handy on those occasions. She voices her opinions to MKG very strongly.

The film shows that his family is not always supportive of his views to give up everything and live austerely. An important scene brings out the strained relationship between MKG and his son Harilal. Harilal is shown to openly oppose his father’s ideology. One wonders if MKG thought of how much his family suffered as a result of his actions?

The Music

Vanraj Bhatia is credited as the music director. The film doesn’t have conventional music tracks. Vande Mataram set is a different tune is played during the final march scene. Interestingly, Usha Uthup sings the song.

My Thoughts

What makes The Making of the Mahatma particularly interesting is that it does not become preachy or spend its time celebrating the greatness of its central character. Instead, the film takes a relatively balanced approach, allowing us to see not only Gandhi’s strengths but also some of his flaws—his occasional rigidity in reasoning, and at times, his unquestioning trust in people and ideas when a more pragmatic approach might have served him better.

Rajit Kapur is excellent as M. K. Gandhi, convincingly portraying a man who is still finding his voice and shaping the principles that would eventually define him. Pallavi Joshi is equally effective as Kasturba Gandhi. Her character is not merely a passive presence in her husband’s life; she questions his actions and decisions from time to time, while also remaining one of his strongest sources of support.

The film was undoubtedly a challenging one to make, given the vast period it covers and the sheer number of historical events that had to be accommodated. Shyam Benegal makes a commendable effort to bring as many significant events as possible into the narrative. At times, however, these can appear abrupt or disconnected, particularly if the historical context is not known.

Nevertheless, The Making of the Mahatma works as both a biographical film and an engaging history lesson. The significant point is perhaps that it does not simply show us the Mahatma; it takes us back to a time when he was still M. K. Gandhi and the gradual transformation of the young lawyer to the status of the Mahatma.