The Sabarmati Report Review

In the annals of Indian cinema, the Godhra incident has been dissected and dramatized through countless lenses. This July, Accident or Conspiracy: Godhra trode familiar ground, framing the event as a sinister conspiracy, putting the blame on the other community, only to drown in its overambitious narrative. Enter The Sabarmati Report, a docu-drama helmed by Dheeraj Sarna, which attempts to navigate the same turbulent waters with a steadier hand. The film forgoes overt blame on any community, instead presenting a tale of individual culpability through the relentless pursuit of truth by two journalists.

The story begins with Samar (Vikrant Massey), a fresh journalism graduate from IIMC brimming with ideals. A Hindi journalist at EBT, his career meanders through the entertainment beat until the Godhra train fire jolts his trajectory. Samar is dispatched as a cameraman alongside the formidable Manika (Riddhi Dogra), a star reporter with an agenda to label the incident an accident. Samar captures footage as Manika directs him to suit her agenda. However, he also shoots something that hints at a premeditated conspiracy, and unknowingly sows the seeds of his own undoing. The channel discards his footage, accuses him of theft, and ensures his professional isolation across the channels. Stripped of career and companionship, Samar spirals into alcoholism, reduced to dubbing gigs to survive.

Many years later, Amrita (Raashii Khanna), a determined young journalist, stumbles upon Samar's discarded footage. Intrigued, she tracks him down, and together they delve back into the Godhra tragedy, piecing together the puzzle from ground zero.

The investigation, despite the modest production values of the movie, echoes the meticulousness of true-crime series like Crime Patrol or Saabdhaan India, presenting a chilling yet restrained narrative of human cruelty. The narrative is peppered with thoughtful arguments that ground the conspiracy angle. The central argument - why the fire was not caused by smoking, cooking or short circuit - is presented with surgical precision. And the film subtly builds a case for a calculated act of violence, leaving the viewers to draw their own conclusions.

Vikrant Massey's portrayal of Samar is both poignant and understated. His transformation from a spirited journalist to a disillusioned alcoholic is executed with a raw vulnerability that lingers long after the credits roll. Massey's nuanced depiction of a Hindi heartland journalist is authentic, resonating with the audience. Riddhi Dogra shines as the manipulative, agenda-driven Manika, channeling the domineering ethos of modern-day star anchors. Raashii Khanna imbues Amrita with a quiet resolve.

Despite many things going for it, the movie falters in its technical execution. While the storyline spans 15 years, the characters' appearances remain unchanged, a glaring oversight that undermines the passage of time. Also, in one scene, Samar is seen handing over a DVC tape to the channel librarian, and later the librarian hands over the footage to Amrita in a Sony beta tape, which is only possible if time had a back gear. Also, it doesn't make much sense why the Godhra station's name is written in Marathi. And a character resembling Sonia Gandhi is an unfortunate caricature, lacking any semblance of Gandhi's real-life of that period.

Despite these missteps, Sarna's efforts to sanitize the narrative and sidestep overt communal blame are commendable. The movie's measured approach is a stark contrast to the histrionics of its predecessors. The Sabarmati Report may lack the polish of big-budget productions, but its earnest attempt to unearth buried truths makes it a thought-provoking watch. With a more meticulous execution, it could have been a landmark film. As it stands, it remains a worthwhile one-time watch for those willing to look beyond its imperfections.

P. S. This movie was shot twice - the first footage was completely discarded due to the CBFC's objections and legal hurdles, and the whole film was reshot again.