History is the most compromised field of study in our country and our political history has been the worst victim of a consolidated and considered cover up effort. Within our political history, the history of political India after independence is just a haze for the minds of today’s Indians. This obfuscation is not a coincidence. If nothing else, the movie ‘The Tashkent Files’ has been able to establish that much through its extensive research and simplified narration.
India doesn’t have a culture of routinely producing political thrillers, thanks to twin towers of our uninterested filmmakers who would rather portray the love story of one of the fiercest warriors of India – Baji Rao than his military and political programme; and a long, arduous rule of a political party that has been busy hiding its skeletons in the closet for far too long to be able to nourish a free and fair ecosystem for creativity, no matter how unpalatable this creativity becomes for the ones in power. For the uninitiated, watch this thread – freedom of speech by Mr Anand Ranganathan. The present film had its own struggles to see the light of the day. The Congress party with 44 MPs in the Lok Sabha tried different devices to stall the release of the film. One can make an intelligent guess about how vicious can such a party become with an absolute majority in the parliament. That the party considered to be the chief architect of our freedom struggle wreaked emergency upon us, no longer seems to be shocking.
Vivek Agnihotri has come back with his creation ‘The Tashkent Files’, which is running almost housefull even after a week of its release without suffering much of a dip even as Dharma Productions released its much anticipated and much hyped ‘Kalank’. This is Vivek’s second such film after ‘Buddha in a Traffic Jam’ where he has tried to cinematize the ‘war of narratives’ in our country. Although this time, Vivek’s script is not as tightly woven as his last time but given the difficulty of the subject at hand, the handicap of inaction by successive governments and law enforcement agencies of our country, he has achieved a major feat by just being able to connect the far flung dots of historicity.
This film seems to be well-researched with specific citations from books and newspapers, interviews of people connected with the case plugged in naturally in the script, the pointers to the cold war, CIA versus KGB, and narrations of the possible motives for ‘killing’ India’s second Prime Minister. While the motives are described in detail and the audience is left intrigued by the twists in the case, the treachery of the Communists, the Congress, and the Lutyens delhi is established with solid presentations by the lead character of Ragini Phule played by Shweta Basu Prasad. While the film succeeds on this front, it has its own share of shortcomings. Most of the actors in the cast are underused in the movie. Add a few underdeveloped characters and you get confused about who represents what, much of the dialogues are shallow except the ones delivered by characters played by Mithun Chakraborty, Pankaj Tripathi, and Shweta Basu Prasad who get some of the best lines written for the movie. Mandira Bedi, Pallavi Joshi, and Rajesh Sharma execute their roles well. Prakash Belawadi and Achint Kaur don’t do much and are rather left on the bench for the complete innings. A bigger problem with the movie is its background score which is largely insipid and changes too abruptly to allow any emotion or mood to grow on you.
After having watched this movie and Buddha in a Traffic Jam before this, it seems Mr. Vivek Agnihotri, perhaps in his zeal to appear neutral or unbiased, keeps adding all the elements he comes across on social media. As a result, in one scene you will see a character accusing the other of sleeping with people for success, on the other hand, another character is portrayed as a racist who hates muslims. Although this is a noble attempt, it also creates a kind of overcompensatory khichdi about the characters and the purpose of a particular story. Mr. Agnihotri is seen trying too many subjects in one story where perhaps a subject like corruption of activists itself is too alarming an issue to be ignored for a separate project.
In spite of a few shortcomings, this film succeeds in providing some information to its audience about the life and times of Shastriji. That for me, is its biggest victory. Beyond all the conspiracy theories floating around about anyone’s death, it is more important to know and understand a person’s life, because that way, like the filmmaker would prefer, we can at least save our heroes from dying twice. Congratulations Anuj Dhar! More power to your research!