Swatantrya Veer Savarkar Review

Two movies have already been made about the controversial freedom fighter and right-wing posterboy Vinayak Damodar Savarkar: "Veer Savarkar" in 2001 and "What About Savarkar?" in 2015. Savarkar has also appeared in countless other films such as Kaalapani (starring Mohanlal and Tabu), and in Marathi plays. The 2001 biopic was also made tax-free. Clearly, Savarkar is a pretty big name in the Indian freedom struggle.

Randeep Hooda serves as the director and co-producer, and plays the titular lead Savarkar. Most movie buffs are aware of Hooda's acting prowess, evident in how he immerses himself into characters at any cost. For instance, in Sarbjit, he almost turned himself into a bag of bones akin to what Christian Bale did for The Machinist. Savarkar marks Hooda's directorial debut. He took over directing the film from Mahesh Manjrekar, who left the project due to creative differences with Hooda regarding the inclusion of historical figures and events. So was Manjrekar right, and is this film merely another attempt to exploit the political and social climate of the country today, as countless others have done in the election year 2024?

The plot of the film chronicles Savarkar's life-altering experiences, spanning from his witnessing the hardships and suffering during the 1897 plague to India's Independence, and his eventual disenchantment. The film portrays him as a prominent figure in India's freedom struggle against the British. It focuses on his indignation towards British oppression, years of solitary confinement and torture in Ratnagiri and Kaalapani, infamous mercy petitions, Hindutva ideology and concept of Akhand Bharat, staunch opposition to the Muslim League and Jinnah's vision of Pakistan, and ideological clashes with Mahatma Gandhi. That is a lot to cover, and indeed, the film, despite being nearly 3 hours long, doesn't manage to dwell enough on all of them - the narrative probably warranted a two-part movie or a web series. Nonetheless, the movie remains a compelling exploration of Savarkar's multi-faceted life and contributions to Indian history.

Swatantrya Veer Savarkar is starkly different from the nationalist-themed movies that I've watched. The dedication to the art form and the craft of acting by Hooda is something that few truly appreciate or aim for. Setting aside the controversies about its political stand and alleged deviations from history, from an artistic standpoint, it's a truly remarkable film.

However, artistic values alone do not make a good film, and the movie has quite some controversial content. For example, the film depicts Bhagat Singh and Subhash Chandra Bose being inspired by Savarkar, a contentious claim. Bose's great-grandson has dismissed any inspiration, claiming his grandfather was opposed to the creation of the Hindu Mahasabha, of which Savarkar was an active leader. Moreover, several historians, including Ashok Pandey, argue that Bhagat Singh drawing inspiration from Savarkar is wild imagination, mainly because Singh was a staunch atheist and communist, whereas Savarkar was a hardcore Hindutva preacher.

The film also doesn't shy away from referencing the mercy petitions written by Savarkar while in cellular jail in Kaalapani. While it defends these petitions, almost portraying them as a smokescreen to allow Savarkar to work actively on the mainland, it is not fully clear about the intention behind writing them. Was it an act borne out of years of torture, or was it a strategy to fight for a greater cause, the viewer keeps guessing.

The same is true about the forced religious conversion shown in the Kaalapani. The film could have delved deeper into the forced conversions that Savarkar noticed around him, which intensely disturbed him.

Also, in its penultimate stage, the film focuses on the ideological differences between the leaders in envisioning Independent India. The makers consciously attempt to portray Gandhi and Nehru as constantly aligning with the British and willing to concede Jinnah's dream of Pakistan. This portrayal creates the impression that Gandhi and Nehru were always subservient to British interests, rather than prioritizing the welfare of their own countrymen and the cause of India. This depiction lacks nuance, and is bound to fan the politically charged environment of the country.

However, the movie has plenty going for it. The depiction of Abhinav Bharat and Savarkar's unwavering pursuit of a larger goal in London is truly inspirational. The film also portrays the sacrifices and gallows-bound bravery of India's freedom fighters quite poignantly, with the perseverance of freedom fighters, despite numerous obstacles, including Britain's involvement in wars and the Congress' strategic calculations, filmed perfectly. The ideological differences between Gandhi and Savarkar are also presented quite adeptly.

The Kaalapani has been skillfully made a testament to the suffering endured by freedom fighters. The juxtaposition of their torment with the British officers' luxurious lifestyle on the same island is deeply unsettling. Experiencing these horrors on screen makes us realize the privilege of contemporary life and the importance of acknowledging past injustices that we take for granted.

Another bold move the movie makes is suggesting that a lack of unity and self-destructive tendencies among the Indians themselves were among the main reasons that our dream of an independent nation was prolonged for so long. It's a disheartening but palatable truth that many nationalist movies try to gloss over.

Hooda is characteristically extraordinary as Vinayak Damodar Savarkar, and gets into the skin of the character like few others can. His portrayal of Savarkar's harrowing experiences in jail is particularly impactful, highlighting the toll of torture and solitary confinement. Amit Sial, portraying the elder brother Ganesh Damodar Savarkar, offers steadfast support throughout the movement. Though his character is not as vocally eloquent as Vinayak Damodar, his low-profile acting actually elevates the scenes.

Ankita Lokhande portrays Vinayak's wife Yamunabai, a steadfast anchor by his side every step of the way, quite competently. Mrinal Dutt as Madanlal Dhingra, the exuberant freedom fighter, is also commendable, particularly in the court scene defending his actions. And the overseas crew portraying British characters too deserve praise for their authentic dialogue delivery, eschewing heavily Anglicized Hindi for a more natural London vernacular. Their portrayal of characters instigating conflict among Indians is outstanding.

The cinematography by Arvind Krishna is impressive - he has crafted the scenes masterfully with great attention to detail. The producers have spared no expense in capturing most sequences on real locations, lending the film an authentic and immersive quality that feels like a true labour of love. OTT won't cut it for this film - it deserves to be watched in a theatre.

The music, composed by Anu Malik, Vipin Patwa, Sambata, Mathias Duplessy and Sandesh Shandilya, adds another layer of excellence. While the first three composers worked on the songs, the latter two focused on the background score. The impeccable sound work is noteworthy, so much so that the movie can easily be played on the radio. In terms of technical execution, the film displays no signs of laziness whatsoever.

To conclude, it's difficult to say what Manjrekar could have done with this movie as its director. But you won't miss him - Randeep has done exceptionally well. The best thing about the movie is that it's not merely another attempt to exploit the political and social climate of the country. Except for a few debatable narratives, the film stays true to history. It also doesn't indulge much in hero worship. If you love and understand the craft of movies, you'll love Swatantrya Veer Savarkar. Be aware, though, that this one is not for your weekend unwinding. It'll leave you heavy-hearted.