In ‘Mangal Pandey,’ the synthesis is sometimes artificial, sometimes sympathetic, and occasionally pathetic. The effort to present a piece of history is broken into kitschy pieces. A. R. Rahman’s music doesn’t compensate for the disappointment. Aamir Khan delivers a ‘polished’ performance. His appearance is tanned, as if using boot polish, to embody Mangal Pandey, who pioneered India’s struggle for independence.
The script’s shortcomings are often more oppressive than the brutal ‘Gora Log’ (white people) in their seemingly off-the-shelf costumes. The colonial forces in ‘Mangal Pandey: The Rising’ (should it have been ‘The Uprising’?) with their red uniforms are a display of subverted Nazism.
The characters, especially the white ones, lack a sense of lived experience. The colonial depiction worked well in Manmohan Desai’s ‘Mard,’ where Bachchan’s character dominated the ‘Gora Log.’
Mehta is expected to offer more subtlety than is present in this patriotic story. The build-up in a scene often outweighs its final outcome.
The relationship between Aamir and Rani’s characters is problematic. Their romance, resembling the Devdas-Chandramukhi dynamic (he recoils when she touches him), lacks depth.
Rani’s character is inconsistent with both history and the film’s tone. She shifts from being auctioned, to performing a sensual ‘Mujra’ in Madame Kirron Kher’s ‘kotha’ (a nod to Sanjay Bhansali’s ‘Devdas’).
Instead of poignancy, Rani makes Heera playful.
Amisha Patel’s cameo is comparatively well-received. The scene where Gordon, with Mangal, rescues her from the Sati ritual is shot in striking colors. She has tender moments with her rescuer.
More of the Jwala-Gordon relationship would have been appreciated.
Appealing visuals don’t create a strong narrative. Gordon is more appealing than Mangal Pandey. The white man’s colonial dilemma is well-portrayed by Toby Stephens. It is a rare instance where a foreigner gets applause without the audience understanding what he says!
Aamir’s mustache and eyes do all the work. Whether this is due to the script, character development, or the actor, is unclear. Mangal Pandey is a cardboard hero. His climactic scene is well-shot but marred by editing issues.
The scenes highlighting Mangal’s heroism are ludicrous. “I AM Hindustan,” Aamir declares.
Aamir’s Mangal Pandey is a self-important hero.
Aamir’s Mangal Pandey is trapped.
Unlike ‘Lagaan,’ where the hero stands out, Aamir never shines. He remains shadowed.
There are many supporting actors. Rani Mukerji rides a horse. They seem like afterthoughts.
The vulgar moments are uncomfortable. A peasant operates a fan for a sleeping woman suggestively. A man offers to pull down Heera’s ‘ghagra.’ The film overuses revealing scenes.
The story lacks depth. Mehta’s epic vision is appreciated. Nitin Chandrakant Desai’s artwork and Himman Dhamija’s cinematography enhance the visuals. They fail to create the blend that makes historical events engaging.
Faroukh Dhondy’s script leans toward Bollywood. Mehta seems to be moving away from his previous image by creating a Bollywood spectacle.
The result is a film that’s more hysterical than historical. The film has brilliance, but if you want Mehta’s blend of socio-political themes, see ‘Mirch Masala’ or ‘Bhavni Bhavai.’