Mangal Pandey: The Rising

I liked the whole atmosphere of the movie and the professional outlook. There should be more movies like this rather than the same soapy mushy mushy romantic movies.

The story built up nicely, from the point where Mangal (Aamir Khan) was just a normal soldier to the point of him fighting for freedom and leading from the front. The Foreign cast in the movie such as Toby also did a great cast in making the movie professional rather than a joke.

Heera(Rani Mukherjee) and Amisha did a good job although their roles were small. But it was needed since the emphasis was not them but Mangal.

All in all, a worthwhile movie. Although many dispute its originality and historical facts, with the amount of historical facts available, the movie was well directed and shot. Inspiring and the ending made my heart heavier .

Ketan Mehta perhaps wanted to make a lavish 'Braveheart' with 'The Rising: Ballad of Mangal Pandey'. Well, the end result is far from it. The depiction of the rebellion and the pursuit for revolution was very bleak. I can understand that Mehta wanted to make a lavish epic-type movie about an Indian hero but there is just too much exaggeration for the story to resonate. So much is spoon-fed to the viewer while it fails at telling a proper story. There are so many sequences that are unintentionally funny. Forget historical accuracy, even the characters (with the exception of a few) felt one-dimensional. Even the title character was poorly developed.

The mutiny preparation was rushed. While each and every one of the songs are beautiful, the holy song could have been left out as it doesn't add to the story and only slackens the pace. Even the romance between Jwala and William looked forced (this track shouldn't have been included at all).

Mehta does introduce some interesting issues that have not been depicted on screen earlier. Such as the Indian nanny breastfeeding the British baby while she struggles to feed her own child. His cinematographer does a superb job in capturing the picture with his camera. The art direction is eye candy.

A.R. Rahman's score deserves special mention. It is of an eclectic mix with a variety of songs, all of which have been beautifully visualized. I especially liked how 'Rasiya' and 'Vari Vari' were executed. Rani Mukherjee dances wonderfully. Many have made unfair comparisons to that of Madhuri Dixit's 'mujra' in 'Devdas'. Madhuri's character was a trained dancer while Rani's Heera had just been sold to the brothel and her primary task was to seduce. Back to Rahman's music, his background score is highly effective. It remains consistent and always contributes well to the scene (sometimes it's the only thing that works in a scene).

Aamir Khan makes a comeback after four years. However, this is far from his best work. He looks uninterested and wooden in most places and is easily overshadowed by Toby Stephens. He does seem to enjoy playing with his fake moustache. Stephens has the best character and he does full justice to it with a remarkable performance. Rani Mukherjee acts with full guns blazing. Whether her character is relevant or not to the movie, the actress is sensual, spontaneous and natural on screen and that's always great to watch. Amisha Patel has a few fits of hyperventilation (even though her character wasn't supposed to be someone sick with asthma).

'The Rising: Ballad of Mangal Pandey' is a lackluster film. It has very little to offer whether in the form of entertainment, enlightenment or engagement.

I went to see this movie with a friend of mine from India. I was going because of her, expecting to be bored to death. I was wrong! The Rising is one of these movies that are larger, bigger than life. The amazing powerful music sets the tone to a legend of a great folk hero for Indians. The acting, in most cases, was haunting. The cinematography was breathtaking and the songs, and I am not a big fan of people singing and dancing in movies, were magical and helped move the story along. Of course, it was a big history lesson form me (though the producers warn you that some of this is fictionalized), but I have a better understanding of the Indian culture now. I finally get to see Toby Stephens\playing a role that doesn't involve him being mean, a villain or plain evil.

I watched this movie on the first day of its worldwide release. The theaters were full and understandably so. There has been much publicity done for the movie besides scheduling a worldwide simultaneous release and bringing back a "new look" Aamir Khan after a long sabbatical. And the 18 months Aamir spent growing his hair , has come to full fruition with an acting performance like the one in this movie.

The sedition of 1857 which signaled the inception of the Indian Independence process and the eventual exaltation of Mangal Pandey is a much sought after theme in mainstream Indian cinema. There have been a couple of very good adaptations of this theme in the past. What distincts this one from the rest is probably the inspiring presence of Aamir Khan. Aamir Khan's acting is stupendous. Classically portraying the unnerving bravado known to have been a distinct possession of Mangal Pandey in Indian history books, Aamir Khan sports long hair and a lengthy moustache , while he abuts cannons, crafts uprisings and inspires the audiences. Although adhering a lot to the quotes of history, Ketan Mehta has exercised some freedom. In fact, Aamir Khan himself was found quoting something to this effect in an interview to a certain magazine.

The movies shortcomings come from a vain effort to include the quintessence of Bollywood cinema in this movie - song , dance and color. Also , there is the superfluous sleaze. Ketan Mehta seems to have had a itching inclination towards resorting to song and dance at the turn of every climax. This movie could have been a masterpiece if only they would have lost the couple of female "leads" to oblivion and lessened some of the "color".

Mangal Pandey – The Rising is a film that has enormous expectations (probably no other film in recent times has been awaited to this extent). And the main reason for this hype and huge expectations is Aamir Khan – the superstar makes a comeback to the silver screen after 4 long years

Mangal Pandey is a story set in the year 1857 when India was in the grasp of the East India Company. Mangal Pandey (Aamir Khan) is an ordinary sepoy (soldier) who serves the Company's 34th regiment. We see the story through the eyes of Mangal and his superior officer William Gordon (Toby Stephens), who share a deep friendship. The Company introduces a new rifle called the Enfield that requires the sepoys to bite into grease that supposedly contains cow and pig-fat, and that is where all the trouble starts. It becomes a religious issue as cow is sacred to Hindus and pig is taboo for Muslims. This incident transforms Mangal from an ordinary soldier serving the British to a rebel who sacrifices his life and in turn, provides that spark to begin India's independence movement. So the story of Mangal Pandey is not about the actual Uprising, but the hero whose sacrifice sparked this whole movement. The film depicts the situation prevalent in Barrackpore in 1857. Scriptwriter Farukh Dhondy has taken cinematic liberties and he blends fact and fiction. Rather than giving the audience a history lesson as documented by the British, writer Farukh Dhondy and director Ketan Mehta introduce fictional characters and fill the narrative with folklore.

To both Mehta and Dhondy's credit, all this is shown without sounding like a boring documentary or a history lesson. However, the script has its pitfalls and could have been a lot better. The biggest problem of the film is that it does not have a smooth flow. This is partly due to Dhondy's script, partly due to Mehta's direction and mainly due to Sreekar Prasad's inconsistent editing. Many scenes seem like they were cut and pasted haphazardly. Many characters are introduced and then later they are nowhere in the narrative. Songs (except Mangal Mangal, Main Vari Vari and Takey Takey, to an extent) are forced into the narrative and appear at wrong points. Most characters seem under-developed; even Mangal Pandey's character could have been developed much better.

Why, then, did I like the film, inspite of so many flaws? That is because the film has something magical to it that it endeared to me despite all its obvious flaws. At the end, I left the theatre satisfied. The film is technically, a world-class product and epic in scale. Scenes like the war in Afghanistan, the torch scene with the sepoys and Mangal surrounded by a massive army are shot so exquisitely that they give you the goosebumps. Himman Dhamija's dazzling camera-work and Nitin Desai's impeccable art direction take you back in time and convince that you are in 1857. On the whole, the film manages to stay rooted in that period and achieves that late-19th century feel very well. The visual effects of the film are a treat despite minor hiccups. Costumes by Lovleen Bains are good overall, but some costumes like those of Tatya Tope and Rani of Jhansi shown at the end seem straight out of a fancy-dress competition. Action sequences by Abbas Ali Moghul are aptly designed. The sound effects are superb…..the sound department has done an outstanding job. A.R Rahman's music is disappointing except for the rousing title track Mangal Mangal and the 'mujra' Main Vari Vari; Rasiya is also good to hear, but it has no use in the movie. But the background score also done by Rahman is impressive. The dialogues of the film range from a few mediocre lines to excellent ones. Generally, the dialogue is good…..sample this "Hum apne hi desh mein acchut hain (We are untouchables in our own country)", says Mangal to Gordon.

Now to the performances…..a superhuman effort was expected of Aamir Khan and the superstar-actor does not fail to deliver. Though he's let down by the script….as I said before, Mangal Pandey needed to be fleshed out better, Aamir gives his soul to his character. Be it the drunken scene with Toby Stephens where they play a prank on a British officer; or the rage he displays when he's beating up a senior officer; or the calm intensity in his eyes when he walking up to face his death……Aamir shows his tremendous range as an actor. But still, his brilliant performance does not seem as glorious as it should, because his character is somewhat diminished by the script. Toby Stephens is the biggest surprise……he matches Aamir step-for-step as the kind and sensible Gordon. He's worked hard on his character as well as his Hindi and he's also helped by the fact that Gordon is the best-written character of the film. Rani Mukherjee as the nautch-girl Heera is in top form in the 'mujra' Main Vari Vari and she shines even in her short, underdeveloped role. Amisha Patel does not have anything to do at all. The supporting actors are almost like cameos. However, Mona Ambegaonkar as the nurse and Mukesh Tiwari as Bakht Khan leave an impact.

To be frank, the film is inconsistent all along the way…..but despite all its obvious flaws, it is still brilliant, magical cinema. There is too much of candy-floss in Hindi cinema at the moment, and we need more films like Mangal Pandey, Swades and Sarkar which are easy targets for criticism……but these films show you what cinema is all about. Ketan Mehta's epic is a tad disappointing, no doubt and it could have been a lot better……but this is one film that should not be missed. Check it out at least once…..as for me, I'm already thinking of watching it a second time because I'm sure I've missed out on quite a lot of finer points in the movie……….Mangal Mangal Ho !