Although the sudden metamorphosis into sepia-tinted drama, in which the characters play out episodes from the lives of Indian revolutionaries, is clumsy, one accepts it because Hindi cinema is rarely perfect - at least it is an attempt to do something inventive.īut what follows not only stretches the boundaries of logic, it also sends out a dangerous and incendiary message that, if anything, works against what the film seems to be trying to convey to us: that we should stand up to be counted, attempt to honestly do what we can to improve our situation. Under the direction of a young British filmmaker keen to recreate some of the episodes of the Indian independence movement, particularly from the lives of Bhagat Singh and Chandrashekhar Azad, they begin to gain a sense of a past that is now remote to many young Indians, and are forced to rethink many of the beliefs and attitudes towards life that they previously took as given. Rang De Basanti is about a group of youths, pleasure-loving, individualistic, largely ignorant of their country's history and cynical about its future (this much of the film is by and large well done the characters are true to life and the dialogue is witty). In almost two decades of watching Bollywood productions I have never come across such preposterous drivel as that served up in the second half of this film (one reason for this, of course, is that Rang De Basanti takes itself so seriously). Aamir Khan's latest foray into Indian history is without question a cinematic venture of remarkable daring - it left me completely stunned. On Saturday I went to watch Rang De Basanti with some friends at Paras Cinema in Nehru Place.
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