{"id":1222,"date":"2016-05-14T23:28:10","date_gmt":"2016-05-14T23:28:10","guid":{"rendered":"http:\/\/13.201.39.237\/?p=1222"},"modified":"2026-07-17T14:01:29","modified_gmt":"2026-07-17T14:01:29","slug":"indu-sarkar-review-indira-gandhi-madhur-bhandarkar-emergency-india","status":"publish","type":"post","link":"http:\/\/13.207.105.184\/?p=1222","title":{"rendered":"So You Think You Can Make Political Films, Bollywood?"},"content":{"rendered":"\n

M<\/span><\/p><\/div>

adhur Bhandarkar\u2019s <\/span>Indu Sarkar<\/span><\/i> opens with declarations of the Emergency, blaring from radios and newspapers, fittingly highlighted with a shot of the famous blank editorial in the Indian Express. But the film\u2019s true beginning point, one that sets its tone and intentions for the next 140 minutes, is the customary disclaimer that precedes the declaration. Repeated in Hindi, and English, the long-winded disclaimer puts forth the claim that all characters and incidents portrayed in the film are fictional, that it is a figment of the filmmaker\u2019s imagination, despite it being based on the Emergency, a real period in the annals of India\u2019s history.<\/span>\n\nAs <\/span>Indu Sarkar<\/span><\/i> progresses, it becomes amply evident that the disclaimer isn\u2019t a mere formality, one that could have been preempted by the feathers the <\/span>film<\/span><\/a> ended up ruffling before it saw the light of day. Instead, it forms the foundation of Bhandarkar\u2019s latest, as he <\/span>attempts<\/span><\/i> to chronicle life during the 21 tumultuous months, with no qualms about royally overwriting fact with fiction. <\/span>\n\nAs a result, we get a film on the Emergency that is riddled with factual inaccuracies; one that never explicitly mentions Sanjay Gandhi, the mastermind behind the excesses carried out by the government, and is instead satisfied with calling him \u201cChief\u201d (Neil Nitin Mukesh). Additionally, Bhandarkar also goes to great lengths to reduce Chief\u2019s character to a one-note baddie, who alternates between bellowing \u201cJust shut up\u201d to his stooges at every chance possible, and inexplicably getting triggered during an unnecessary qawwali performance. To be fair, his fate, however, is better than that of his \u201cMummyji\u201d (Supriya Vinod), who appears for a record one time during the entirety of the film, only to do a desi Miranda Priestley impression of putting on a pair of shades inside her car. <\/span>\n\nIn fact, Bhandarkar\u2019s selective recollection of the Emergency is best emphasised through his rather obvious deletion of BJP cabinet minister Maneka Gandhi\u2019s involvement, who according to history, was constantly by her husband\u2019s side during the period. Moreover, the filmmaker alludes to Sanjay Gandhi\u2019s five-point programme, and Indira Gandhi\u2019s 20-point programme more than once, without giving any insight into those terms. It\u2019s as if he\u2019s ticking off check boxes of keywords required to disguise a mindless potboiler as a political drama. <\/span>\n\nEven the intermittent moments that come close to capturing the flavour of those dismal days — forced mass sterilisation raids, the Turkman Gate slum demolition, the aggressive clampdown on the Press, MISA (Maintenance of Internal Security Act) — are difficult to swallow, for they are coloured by liberties that ultimately take the shape of artless propaganda. Despite having the unwavering support of a rather enthusiastic government, and a rare sympathetic Censor Board, Bhandarkar squanders the opportunity of crafting a hard-hitting film in his greed to appease the ruling BJP government with a gift-wrapped present. In doing so, <\/span>Indu Sarkar<\/span><\/i>, becomes a prime example of why India can never boast of making a truly piercing political film, continuing Bollywood\u2019s infamous tradition of hobbling when it comes to tackling political subjects.<\/span>\n\n

One could argue that the political climate of India, and the famously intolerant thin skins of our numerous netas, hinder a filmmaker\u2019s ability to put together a political film that is true to its time and people.<\/p><\/blockquote> \n\nIn essence, <\/span>Indu Sarkar<\/span><\/i> boasts of the same flaw that plagued Shoojit Sircar\u2019s semi-compelling 2013 film <\/span>Madras Cafe<\/span><\/i>, which chronicled the Sri Lankan civil war through the events leading up to former Prime Minister Rajiv Gandhi\u2019s assassination in 1991, without as much as naming him. Like <\/span>Indu Sarkar,<\/span><\/i> even <\/span>Madras Cafe<\/span><\/i> found itself in the midst of a storm, heavily <\/span>criticised<\/span><\/a> for its inaccuracies. And, like <\/span>Madras Cafe<\/span><\/i>, even <\/span>Indu Sarkar<\/span><\/i> will ultimately be remembered as a morally disinterested record, chiefly because both its makers sought to take refuge in the figments of their imagination, sacrificing every shred of authenticity. <\/span>\n\nIn a time when there is a concerted campaign to rewrite history, not only is it incredibly incompetent to recreate a politically charged moment inaccurately, but it is also a dangerous trend. For unsuspecting laymen, which includes future generations, the interpretations of these filmmakers will end up becoming believable versions of history.<\/span>\n\nOne could argue that the political climate of India, and the famously intolerant thin skins of our numerous netas, hinder a filmmaker\u2019s ability to put together a political film that is true to its time and people. (For instance, characters in <\/span>Indu Sarkar<\/span><\/i>, use the term \u201canti-national\u201d back in 1975 more than it is casually thrown around in 2017.) But it is impossible to negate the fact that we did have filmmakers who would go the extra mile, regardless of opposition, to make films worthy of being categorised \u201cpolitical dramas\u201d. Especially, during the time when the Emergency was a lived reality, and not like right now, when filmmakers can afford the luxury of recollection. <\/span>\n\n\"Indu\n

\n

Our greatest achievement in the genre still remains to be able to correctly pinpoint Katrina Kaif\u2019s resemblance to Sonia Gandhi in Rajneeti.<\/p>\n

Image Crdit \/ Bhandarkar Entertainment<\/p>\n<\/figcaption>\n<\/figure>\n\nIt was in 1975 itself, that Gulzar made <\/span>Aandhi<\/span><\/i>, a political drama allegedly based on the life of Indira Gandhi, and her relationship with her estranged husband. Naturally, it was <\/span>banned<\/span><\/a> by the Indira Gandhi government 20 weeks after its release, the moment the Emergency was declared, but it ended up being re-released when the Janata Party came to power. In fact, it was the Janata Party, who also salvaged the fate of Amrit Nahata\u2019s satirical <\/span>Kissa Kursi Ka<\/span><\/i>, a film that spoofed the politics of both Indira Gandhi, and her son. <\/span>Kissa Kursi Ka<\/span><\/i> was not just banned by the government when it released in 1978, but also, all of the film\u2019s prints were confiscated, and burnt on the orders of <\/span>Sanjay Gandhi<\/span><\/a>, who was later found guilty and jailed for the same. Most notably, the film had no qualms in taking on the most powerful man in the country at the time, with dialogues like, \u201cSir, give this young man the license to manufacture small cars, because he learnt it in his mother\u2019s <\/span>womb<\/span><\/a>,\u201d referencing Sanjay Gandhi\u2019s Maruti project. In contrast, the audience was treated to pedestrian lines like \u201cSarkarey challenge se nahi chabuk se chalti hai\u201d, and, \u201cEmergency emotions se nahi, mere orders chalte hai,\u201d in <\/span>Indu Sarkar<\/span><\/i>.<\/span>\n\nAt this point, we can only look to Hollywood for instruction, whose filmmakers\u2019 astute grasp of history has resulted in films like <\/span>Nixon<\/span><\/i>, and <\/span>Lincoln. <\/span><\/i>Back<\/span> home, our greatest achievement in the genre still remains to be able to correctly pinpoint Katrina Kaif\u2019s resemblance to Sonia Gandhi in <\/span>Rajneeti<\/span><\/i>. These films act as an able reminder that it\u2019s not only Indian politics that is a joke, but also its representation on the big screen. For now, we can only wait and watch whether Anupam Kher in his upcoming <\/span>The Accidental Prime Minister <\/span><\/i>is actually faithful to the life and times of former Prime Minister Manmohan Singh. But since we are a country of people who don\u2019t read history and are condemned to repeat it, I’m certain we’re being set up for another travesty, high on factual inaccuracy and low on watchability.<\/span>\n","protected":false},"excerpt":{"rendered":"

Madhur Bhandarkar\u2019s Indu Sarkar proves that it\u2019s not just Indian politics that is a joke, but also its representation on the big screen.<\/p>\n","protected":false},"author":103,"featured_media":1225,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[82],"tags":[2065,2066,2067,1758,2068],"class_list":["post-1222","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-pop-culture","tag-emergency-in-india","tag-indira-gandhi","tag-indu-sarkar","tag-madhur-bhandarkar","tag-neil-nitin-mukesh"],"yoast_head":"\nSo You Think You Can Make Political Films, Bollywood?<\/title>\n<meta name=\"description\" content=\"Madhur Bhandarkar\u2019s Indu Sarkar proves that it\u2019s not just Indian politics that is a joke, but also its representation on the big screen.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, 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