Khelein Hum Jee Jaan Sey

While watching 'Khelein hum jee jaan sey' I felt Gowariker has not gonebeyond that book and neither done further research or took extra efforts to explore central characters like Surjit Sen and Kauolpana* Dutta at their personal level. Director had a lot of scope for that, for example, Surjya Sen was married and he is suffering from guilt that he is responsible for his wife's death or he was in jail before the revolution. Raoul Randolf and Gowariker could explore the character on these facts so that it could made primary conflict more strong. There are too many characters in the film; these characters are not properly defined .Madhur Bhandarkar who always manages to build many characters in his films like Page3, Corporate, Traffic signal and Fashion. I haven't read the book and I believed that one should never compare a book and cinema which is based on the book, both are very different experiences.

Gowariker had a chance to capitalise innocence of teenager against brutal fight for freedom, he succeed in one or two scenes but that was not enough.scenes where teenagers didn't know meaning of 'Vande Materam' and interview sessions between freedom fighters and teenagers.Narration is done by two different persons if one of the teenager could used for it then it would make an impact.

I remembered in 'Rang De basanti' where Binod Pradhan used Sepia tone to recreate old time, they wanted to distinguish two different time periods which is also possible in 'Khelein...." because 'Khelein....' happened within substantial time period. They could use non linear way of storytelling and built two different time period. One time period could be about how they execute the plan and other time period could be about how they sacrifice their lives and made major influence on freedom movement. David fincher has done this in 'The Social Network'.

Second half of the film is all about British hunts down all freedom fighters where it lacks drama element, British wanted to capture them dead or alive but later in the film suddenly British wanted to capture them alive and this question remained unanswered.

The film could ends with scenes like how Chittagong's revolution made positive impact on freedom movement, they concluded whole story in single note.

Ashutosh Gowariker is a talented Storyteller. His Oscar-Nominated Epic-Hit 'Lagaan' was amongst the best films of it's time, 'Swades' was a touching film, that has now become a cult-classic. 'Jodhaa Akbar' was another milestone he churned out. 'What's Your Raashee?', however was a letdown.

'Khelein Hum Jee Jaan Sey', also isn't Gowariker, at his best. This period piece/patriotic has a strong first hour, but a long & weak second hour, spoil it's impact.

Based on the Chittagong Uprising of 1930, 'Khelein Hum Jee Jaan Sey' tells the story of Surjya Sen, a prominent Bengali freedom fighter, an Indian independence activist and the chief architect of anti-British freedom movement in Chittagong, Bengal, who, with his people created a revolution, that eventually let India get independence.

As mentioned, the first hour is absolutely terrific. The entire build-up to the revolution keeps you at the grip. But, the second hour plays a spoilsport. Also, the excessive running-time of over 3 hours, needed some trimming. Even the climax for that matter, doesn't leave the desired impact.

Ashutosh Gowariker knows his job, and he has proved his caliber as a filmmaker time and again. He directs each frame with the accurate detail, but the weak writing in the second hour, pulls him down. Cinematography is outstanding! Editing needed to be sharper. Music by Sohail Sen is passable.

Performance-Wise: Abhishek is efficient as Surjya Sen. Deepika Padukone does an okay job. Sikander Kher is fair, while Vishakha Singh is sincere. Mahinder Singh is good. Shreyas Pandit is flawless. Others lend good support.

On the whole, A One-Time Watch, that could've been much more, if it had a better second hour.

The intermission of this nearly three hour film serves as an automatic marker at how Gowariker planned the narrative, the first half being the introduction, characterization and planning stage that we get to witness going behind any schemes of this nature of an armed struggle, where the definition of whether one is a terrorist or freedom fighter, is naturally decided in context by the victor in history. A lot of time goes into establishing the character of Masterda Surya Sen, played by Abhishek Bachchan as the school teacher who indoctrinates his class, and other followers of his exploits, into the need to drive the British out and to attain freedom for India, starting with Chittagong (present day located in Bangladesh).

In some ways this film has shed some light that those who persist in armed struggles, never really changed the essence of their modus operandi much. It starts off with a charismatic leader and his ideology, a band of faithful followers, and a mass recruitment of those who have faced the wrong end of oppression, eager to join the cause to exact some form of revenge, now elevated to a greater struggle for something way above the petty personal objectives. We observe how resources get assembled, from the raising of funds through whatever means possible, even if it means in kind instead of cash.

Target surveillance becomes the must do as well in order to prepare for that strategic attacks, and from what we can learn from history, simultaneous attacks on key targets isn't something that's conceived in the new era, but has been used a long time back, with the revolutionaries keeping in mind the importance of timing, and to hit places controlling communications, weapons depot, and of course the places where the foreigners congregate. There's this sense of chill when watching the film, because these are lessons obviously not learnt, and it's about time we wise up to see that the jungle too serves as an attractive training ground away from prying eyes and ears either to train on weapon handling, or to assemble explosives.

But for the gripping set up, the second half turned out to be somewhat of a letdown, and I do not mean what had actually happened in history, which of course cannot be changed lest this film becomes a farce. There were enough elements here that made it the action packed second half it was meant to be, with the firing of weapons and the proverbial Murphy paying the revolutionaries a visit and really screwing up their plans. All these translated to edge of your seat excitement worthy of any thriller, and we see how the execution of the plan turn the perpetrators from hunters into prey.

A lot of things got muted in the movie, which is something not quite typical of an Ashutosh Gowariker film. Known for the opulence and grandeur of his productions, this one seemed a little bit toned down and stripped down to reflect the state of the revolutionaries, being required to work with bare minimum resources, and with faulty intelligence as well, being caught off guard in their plans, especially the more critical factors in ammunition and prisoners / hostages. It's quite back to basics for Gowariker, whom I felt if given the allowance for a longer runtime like almost all his previous works, could have told a more complete and robust story.

Abishek Bachchan performed credibly as the legendary historical character, although the storyline, in having a number of notable revolutionaries to focus on, tended to dilute the importance of his character, and hence an opportunity for him to shine. Deepika Padukone plays Kalpana Dutta, also another historical character, and the much talked about scene is of her character playing badminton in her introduction was relatively short to begin with. The actress continues to be paired opposite big name counterparts, but is able to hold her own without being awed. There's some romantic tension between the two lead characters here, though it served more as a distraction and soon got canned before it even had the chance to start.

As it stands, most of the last act turned out to be quite rushed, with fairly little being given to characterization, opting instead for quick resolution often through action sequences which do get tired after a while. Englishmen all play the token bad guys, and we don't see a lot as to how nasty they actually are, as compared to the oppression dished out by those portrayed in Lagaan. The courtroom drama also seemed to be cursory rather than to provide for a platform, and lacked the usual legalese oomph to have made an impact to an audience, having everything seem a little bit routine, well, even if it may be true in real life. Music by Sohail Sen, who had worked on the previous Gowariker film What's Your Rashee, is commendable, especially its rousing themes that will get to grow on you.

This is Ashutosh Gowariker's equivalent of Braveheart or any other freedom fighters' struggle to gain freedom for their motherland, but we could all have benefited from a little bit more of walking around inside Masterda Surjya Sen and going deeper into his beliefs and motivation. While it's still an epic scale and its presentation of the opening credits mimics that of epic greats, it somehow didn't manage to live up to its potential that we know Gowariker is capable of, and this is coming from a fan.

Ashutosh Gowariker retells the astounding true story of the Chittagong uprising of 1930. Led by a fiery school teacher, a band of 64 revolutionaries, most of them school-going teenagers, launched five simultaneous attacks on British strongholds in Chittagong including the cantonment area and the telegraph office Ashutosh recreates this largely forgotten event with sincerity and sweat but unfortunately Khelein Hum Jee Jaan Sey comes off a high school history lesson: plodding, stilted and in long stretches.

The film's entire first half is the set-up to the event the nuts and bolts of planning a revolt, getting enough investment, planning and co-ordinating each step. Ashutosh introduces us to half a dozen characters but the screenplay doesn't adequately flesh out even one.

The second half has more urgency and momentum and climaxes in the inevitably tragic but rousing finale.The dialogue is always lofty and theatrical and the actors are insistently noble. Abhishek Bachchan, who plays the leader Surjya Sen, is in sober, benevolently smiling mode. We get little hint of the fire in his belly.

This is a great effort to bring such hidden subject in front of us but if you like fast paced cinema then its not your type of movie.

If you love good cinema,watch it. My vote 7 out of 10.

Khelein Hum Jee Jaan Sey is an honest and sincere effort by Ashutosh Gowarikar put together with a lot of hardwork. Now, a lot of the times, such efforts may not work out on the screen but in the case of this movie, it results in a great piece of cinema.

Before going to the movie, I was discussing about the young deaths which had occurred during India's freedom struggle. Some one like Bhagat Singh was only 23. The film starts with youngsters playing football and the British taking over their play ground. All through the first half, a lot of screen time is dedicated to these youngsters.

It is important to understand the Ashutosh Gowarikar style of film making here. He is a director who likes to make the audiences feel his films and he does it by etching out a screenplay which has a pace of it's own. A lot of people find it slow but if it was faster, you wouldn't get the time to not only realise, but to absorb and understand the dreams and aspirations of the people on screen.

The story of the Chittagong uprising is one of the less popular epsiodes of the Indian freedom struggle So it is great that Gowarikar has brought this story into the mainstream. Through the movie, you feel regarding and remember not only the freedom fighters of the Chittagong uprising but all the unnamed people who took it upon themselves to fight to free India. A son tells his father that they will not sell imported clothes any more, a mother gives his son Rs. 100 to contribnute to the freedom struggle and it is about the sacrifices (small or large) of the common man who wants India free. The teenagers who fought in the Chittagong uprising were as common as they come. You see scene after scene of these young freedom fighters. It is really a homage to the many, many Indians who wanted India free and contributed towards that end.

When the film ends, photographs of the people who fought in the Chittagong uprising are shown side by side with that of the actors who depicted them. A lot of them are very similar in not just the fact that they wore spectacles but even in the hairstyles. It is testament to the amount of detail which has gone into making this film. That detail is scene every where in the film whether it be in the way the characters dress, the sets or the sceneries. In the second half landscapes of Bengal are recreated when the freedom fighters are on the run and it is really very well done. 8/10.