Simply exquisite!

The aspect of British Rule has been touched upon in Bollywood, old and new, occasionally. Perhaps the one that remains the freshest in our memory is Lagaan. Kranti is what Lagaan isn’t. Unlike Lagaan which stayed away from war and bloodshed, Kranti is filled with it. It is a gory, battlefield of raw intelligent film making with a hot star cast of its time and a hit score by Laxmikant-Pyarelal. It is history at its very best by a man, Manoj Kumar, who was popular in patriotic filmmaking. Kranti is not for those that like romantic sappy films, though romance is heavily involved. Kranti may also not seem as original now as the themes and occurrences have been tried and tested repeatedly in Bollywood.

However, this is 1982. This is a clever script of war, history and men. If you are not a fan of history films, or blood and war I am almost sure you won’t be as positive about the film as I was.

The story begins as patriotically as it ends, but we are started off with the actual end of the film, which thus leads us through the flashback. Briefly, the film revolves around the British rule in India and the rebels who plan to revolt against them. These rebels cause the rebellion (Kranti) and join forces under that name. Primarily, under the chaos where kids and babies are torn from their mothers while their fathers fight for their country, the sons of Dilip Kumar are separated unknowingly. Dilip Kumar is presumed dead while one of the sons, Shashi Kapoor, go to the British-Indian Kingdom and the other Manoj Kumar, goes to fight for Kranti by situations of pure fate.

To support Manoj and the secretive Kranti group is Parveen Babi, who utilizes her sex appeal to retract the British. The first step is to kidnap the British Indian Princess, Hema Malini, and they successfully do so. Chaos ensues when she is kidnapped and since the British have never actually seen this beautiful princess, Manoj sends Parveen Babi to portray the high entity. In the mean time the unending attempts at wiping off the counter parties’ capitol continues with high bloodshed and periods of mystery as to whom is the real “Kranti”. Hema, unaware of the cruelties of her prestige, decides that she will support the rebellion and embarks together with Manoj to attack the British Empire. Their conquest, including a battle amongst brothers (Shashi and Manoj) who do not know their roots, continue until the founder of Kranti, Dilip, arrives. Dilip abounds to find out who is prancing around as the true Kranti and when he does, the second version of blood versus blood is witnessed. Manoj Kumar excellently shoots this fighting sequence in a temple amongst statues of Lord Ganesh and Lord Shiva, where the real son and father stand. Hearing of the sudden weakness Shashi captures both Dilip and Manoj, awaiting to find out who is the real Kranti, and locks them up. By the wits of Hema and Shatrughan Sinha, they are set free only to embark on further dismay through their journey for freedom. The British come to learn that Parveen isn’t the true princess, but realize that there is much more to worry about. The rest of this rebellion relies heavily on emotion and powerful performances in excellently shot sequences of war, drama and settings.

Manoj Kumar is surely not the best looking actor of these times but he has acted with great strength. To top him off he has an amazing and at that time extremely popular star cast of Dilip Kumar, Shashi Kapoor and Hema Malini (the going actress of the eighties) to support him. This alone aided in the success of his film though the film itself is merit full. Shashi Kapoor plays the British elite perfectly, Hema Malini plays the innocent and arrogant princess come everyday woman perfectly and Dilip Kumar, in my opinion, the true star of the show is perfect in his warrior type role.

Laxmikant-Pyarlelal’s musical score defines melody. In my opinion, it is one of the best soundtracks of yesteryears and could surely teach some of the millennium’s “melody directors” a lesson or two. Kumar makes sure the songs don’t pop out of nowhere and each and every excellent tune serves the narrative. “Zindagi Ki Na Toote” is still adored today; “Lou Shama Sa” has Lata singing in all her glory and Praveen Babi’s famous chandelier sequence with “Mara Thumka” is simply music to our ears! As someone from a generation after this film’s release this soundtrack is still one I listen to frequently.

The script is well written and the period feel of the film is quite felt. For its release time this certainly can classify as its own Lagaan, especially with its American actors playing similarly evil and egotistical roles.

Kranti is an experienced not to be missed. I wouldn’t call if perfect, but no film is completely flaw less nor is this world. You will love this musical score, the action, the acting and theme of patriotism that flows from every reel brilliantly shot. Perhaps I am being too positive about it, but you won’t know until you see it.