logo
Kesari 2 isn't an ‘untold story', it's historical fiction that minimises Sankaran Nair's real-life contributions to the freedom struggle

Kesari 2 isn't an ‘untold story', it's historical fiction that minimises Sankaran Nair's real-life contributions to the freedom struggle

Indian Express22-06-2025
Kesari Chapter 2, the film starring Akshay Kumar, directed by Karan Singh Tyagi, which released in theatres just a couple of months ago, centered its promotions on this being the 'untold story' of Jallianwala Bagh that had stayed hidden for over 100 years. The makers declared that the film was based on the events that happened after the massacre at Jallianwala Bagh, where thousands of innocent Indians died after Hitler-like General Reginald Dyer ordered his troops to fire at them without any warning. The events at Jallianwala Bagh were undeniably brutal and over 100 years later, Britain is yet to apologise for them. Kesari Chapter 2 reminds the audience that this apology is due but it does something else as well, it tries to rewrite the story of Sankaran Nair and in the process, it diminishes his actual contribution to the Indian freedom struggle. Nair was a hero, and he did fight against the British but there was never a case against General Dyer in any court in Amritsar. Kesari Chapter 2 claims to be the 'untold story of Jallianwala Bagh' but the fact is, that this courtroom battle never took place.
Kesari Chapter 2 claims to be based on the book written by Sankaran Nair's third generation, Raghu Palat and Pushpa Palat, titled 'The Case That Shook the Empire' but upon examining this book, and the autobiography of Nair, it is evident that the acclaimed barrister was never in a trial against General Dyer but Kesari Chapter 2 tries to rewrite history as its actors and director go around claiming that history books aren't doing a good enough job. The disclaimer that Kesari 2 is essentially a work of fiction doesn't go far enough given the publicity material has tagged the film as 'the untold story'.
Sankaran Nair was a member of the Viceroy's Council, and saw himself as an ally to the then-Viceroy of India, Lord Chelmsford. But soon after the massacre at Jallianwala Bagh, which was not appropriately reported by the press because of the severe press censorship implemented in Amritsar, Nair was shocked to find out the barbaric acts carried out by Dyer and his men. 'If to govern the country, it is necessary that innocent persons should be slaughtered at Jallianwala Bagh and that any Civilian Officer may, at any time, call in the military and the two together may butcher the people as at Jallianwala Bagh, the country is not worth living in,' he wrote in his autobiography.
ALSO READ | Kesari Chapter 2: Akshay Kumar's courtroom drama accidentally exposes Bollywood's handling of sexual misconduct
Nair expected Lord Chelmsford to criticise this episode but when he saw that no one in the British administration was willing to speak against the brutal massacre, he resigned from his position in the Viceroy's Council. His resignation shocked the British administration as prior to this, they saw Nair as a loyal ally. After his resignation, Lieutenant Governor of Punjab, Michael O'Dwyer, immediately revoked orders for press censorship in the state and martial law was called off. It was Nair's resignation that led to the formation of the Hunter Commission, which looked into the barbaric acts at the Jallianwala Bagh.
The Hunter Commission was a seven-member committee composed of four British and three Indians that conducted interviews all over India, met with eyewitnesses of the massacre and also interviewed General Dyer. As per The Case That Shook the Empire, Dyer accepted that he 'planned the shooting at Jallianwala Bagh in advance' and he had no intentions of scattering the crowd because they were violating the curfew. 'More damning was his admission that he would have used machine guns and armoured cars if it had been possible,' it read. Dyer also confessed that he made the conscious choice to leave the wounded to die. This was the only time when Dyer was made to appear in front of a body that was investigating the massacre, and here, he shamelessly admitted his dastardly acts.
Kesari Chapter 2 would have you believe that Dyer was made to stand in court while a former ally to the crown, Nair, badgered him with questions, but this never happened. Hunter Commission submitted its findings and declared that Dyer's actions were a 'grave error.' The crown did not wish to punish Dyer as it was seen that he had 'averted another mutiny' and so, he wasn't court-martialled or dismissed. But, they could not have him in India due to the growing resistance against him, and so, he was shipped off to England in April 1920.
ALSO READ | Even as Akshay Kumar's Kesari Chapter 2 shows an imagined past, it ends up confronting the present
While Reginald Dyer was the man on ground in Jallianwala Bagh, his superior was Michael O'Dwyer, who was the Lieutenant Governor of Punjab at the time. It was O'Dwyer who gave Dyer enough power that he could implement whatever laws he saw fit. At one point, Dyer ordered people to crawl through the streets of Amritsar, and he was empowered to do so by O'Dwyer.
The events at Jallianwala Bagh shocked those Indians who, until then, enjoyed British aristocracy and had received knighthood from them. Rabindranth Tagore gave up his knighthood and Nair left his job with the crown and started working as the Diwan of Indore, which was a princely state then. It was here, in 1922, that he wrote a book titled Gandhi and Anarchy. Nair 'did not believe that non-violence, non-cooperation and civil disobedience was the way for India to achieve Home Rule' and he expressed the same in his book. Here, Nair also implied that Michael O'Dwyer was just as responsible as Reginald Dyer for the massacre in Punjab. 'Nair implied the Punjab atrocities were committed with O'Dwyer's full knowledge and approval,' the book read. When O'Dwyer got his hands on this book in England, he decided to sue Nair for defamation, as he had claimed innocence for the atrocities in Punjab. Sardar Udham Singh eventually assassinated Michael O'Dwyer in 1940. But in Kesari Chapter 2, O'Dwyer is reduced to a supporting character who can be seen making backroom deals but is nowhere on Nair's radar.
ALSO READ | FIR lodged against film Kesari Chapter 2 for 'distorting historical facts' after police complaint in Bengal
The real-life case was no less than a movie, even though the filmmakers chose not to make a movie on this. O'Dwyer claimed innocence and was 'offended' with Nair's accusations. He demanded that Nair withdraw his book, offer him an apology and damages worth £1,000. Nair, obviously, refused to bow down and was ready to go to trial.
He weighed his pros and cons before making this decision. The biggest pro here was that the trial would be held in London, and the press would be covering it. With this, Nair had the opportunity of talking about the massacre at Jallianwala Bagh in front of the English press, and this was the only way the higher-ups in the British government and the locals of the country would get to know how Britain was treating its subjects in India. But, there were some major cons as well. The trial would be presided by an English judge and the judgment would be made by an English jury, and chances were, that they would support O'Dwyer because he was one of them. Nair also did not have the opportunity of presenting his witnesses in person, and would only get a chance to read out their testimony, that could be misinterpreted by foreigners. All of his disadvantages would be advantageous for O'Dwyer but he decided to fight this battle anyway.
Even though the trial was was held in England, Dyer did not attend a day in court on account of his ill health so Nair never really confronted him in any court, which is the base of Kesari Chapter 2.
ALSO READ | Dharma's creative head responds to Kesari 2 director's comments on film blending fact, fiction: 'Masterclass for Philistines'
Nair went through many troubles while preparing for this trial. The first barrister he hired to represent him was promoted to Attorney General, so he quit. The second barrister he hired quit just a day prior. And so, in desperate times, he had to hire Sir Walter Schwabe, a former Chief Justice of the Madras High Court. Schwabe was a learned man but wasn't a trial lawyer, and thus, wasn't cut out for such court battles. In the book written by his grandson, it is questioned why Nair didn't represent himself, but there is no explanation provided for the same. 'It is unclear as to why Nair did not choose to defend himself when Simon withdrew. He would have certainly acquitted himself better than Schwabe who was not as experienced, strong or as knowledgeable about the case,' it read.
Nair vs O'Dwyer began in April 30, 1924, almost five years after Jallianwala Bagh massacre and the case went on for nearly five and a half weeks, presided by Justice Henry McCardie. Nair's case was about O'Dwyer being aware of Dyer's actions in Amritsar but after the opening remarks, McCardie, who had blind faith in the British Empire and considered himself to be superior, turned it into an evaluation of Dyer's actions, as he repeatedly insisted that Dyer had to shoot at people to avoid a mutiny. The case was no longer about O'Dwyer's involvement but about justifying the barbaric acts of Dyer in the name of saving the Empire. McCardie was supposed to be an impartial judge, but he acted like he was a lawyer for O'Dwyer.
Together, they painted a picture where they made the jury believe that Amritsar was in a volatile state when the events at Jallianwala Bagh happened only to avoid a mutiny. All the facts presented by Nair's lawyer fell on deaf ears and they couldn't convince the jury of the truth. But, even at the end, there was a chance that there could be a mistrial as the jury could not come to a unanimous verdict. McCardie did not want this case to go for another trial so he asked both parties if they would be comfortable with a majority vote, which means that the side getting the most votes from the jury would win the case.
By this time, Nair was tired. His grandson said in his book, 'Nair was tired. The case had originally been filed in the middle of 1922. Two years had passed and, during this time, the case had entirely consumed him. He wanted it to end and to get on with his life. For Nair, it had never been about the money. He had fought this case because he had been asked to give a public apology for a claim he had made in his book – a claim he believed to be true. He had refused to apologise then and instead had chosen to fight the case in an English court. Now that an apology had not been demanded, he felt vindicated.'
The terms of the case were now modified as it was mutually decided that the one who won would get £500 plus legal fees. Nair demanded that if O'Dwyer lost, he would apologise to those he wronged in Punjab, and he agreed. However, Nair lost the case, 11-1. He was now held guilty for defaming O'Dwyer. He was asked that if he gave an apology now, the monetary compensation would be ignored but Nair was ready to pay, and firmly refused to issue an apology.
Nair, who had spent years working with the British, was disillusioned by the British justice system after this case. He refused to go to trial again, as he was certain that the British would not let their own people down. While Nair was a vocal critic of Mahatma Gandhi, he wrote about Nair's trial in Young India on June 12, 1924, 'By accepting Sir Michael O'Dwyer's challenge, Sir Sankaran Nair has put the British constitution and the British people on trial. They have been tried and found wanting. Even in this simple matter, a man of Sir Sankaran Nair's proved loyalty could not get justice,' the Mahatma wrote.
Sankaran Nair is a man whose story deserves to be known by Indians all over the world for he truly fought an impossible fight and even though he wasn't victorious, he was an important part of India's awakening against the British.
Most real-life stories are slightly modified when they are adapted in movies, but if one changes the central conflict and the verdict, then it's not even a real story anymore. Kesari Chapter 2 is historical fiction in the garb of an 'untold story'.
Sampada Sharma has been the Copy Editor in the entertainment section at Indian Express Online since 2017. ... Read More
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Salakaar actor Naveen Kasturia opens up about choosing acting over engineering as career, ‘Mujhe humesha se…'
Salakaar actor Naveen Kasturia opens up about choosing acting over engineering as career, ‘Mujhe humesha se…'

India.com

time20 minutes ago

  • India.com

Salakaar actor Naveen Kasturia opens up about choosing acting over engineering as career, ‘Mujhe humesha se…'

Naveen Kasturia, who plays a pivotal role in the gripping series Salakaar, is not a typical Bollywood hero. An engineer by education, Naveen left behind a stable career path to chase his dream of acting, a decision that came with struggles, uncertainty, and years of perseverance. Known for his raw, relatable performances in shows like TVF Pitchers, Aspirants and Sapne VS Everyone, Naveen gradually became a favorite among OTT audiences. How did Naveen Kasturia decide to pursue acting over engineering? During a conversation with when Naveen was asked about why he decided to pursue acting as a profession, after being successful engineer, Naveen mentioned that he always wanted to do something to showcase his immense love for cinema. He said, 'Mere time par do hi raaste hote the, ya toh engineer, ya toh medical, toh jo engineering karte the wo engineer ban jate the, jo doctory ki padhai karte the wo doctor ban jate the. School, college mein filmon se inspire hokar plays mein part leta rehta tha, but ye path aapko pata nahi hota ki aapko isme kaise jana hai toh aap uske liye convetional raasta hi follow karte ho aur tabhi maine engineering kari aur uske baad maine job bhi ki, job ke waqt main Uttar Pradesh mein tha 2007 mein and jab aap job kar rahe ho aap thoda paisa kamaa rahe ho tab aap sochna shuru karte ho ki kya mujhe jeevan bhar yahi karna hai, aur tab aap khud decisions lena shuru karte ho, kyunki uske pehle jo decisions ya options apke saamne hote hain tab aap wo nahi karte ho, toh main ye nahi kahunga ki ye mera achanak se liya hua decision tha aur ye bhi nahi keh sakta ki main ise bahut waqt se plan kar raha tha.' (In my time, there were only two paths, either engineering or medical, so those who did engineering became engineers and those who studied medicine became doctors. In school and college, I used to get inspired by films and take parts in plays, but you do not know the path that how to learn in this, so you follow the conventional path for that and that is when I did engineering and after that I also did a job, during my job I was in Uttar Pradesh in 2007 and when you are doing the job and earning some money, then you start thinking whether I want to do this all my life, and then you start taking decisions on your own, because before that whatever decisions or options are in front of you, then you do not take them, then I will not say that this It was a sudden decision of mine and I cannot even say that I was planning it for a long time.) How did Naveen Kasturia's fascination for cinema become his sole purpose? Naveen further continued and said, 'Gradually, jaisa mera mind mujhe karne ko keh raha tha, main waise hi koshish kar raha tha, kyunki job main bas sirf paise kamaane ke liye nahin kar sakta, kyunki kaam mein maza aana zaruri hai toh is par main sochta tha ki mujhe kis kaam mein maza aata hai aur mujhe humesha se filmein fascinate karti thi, toh uske liye Delhi se Mumbai aana ek difficult step tha, acting ka sochkar nahin aaya tha main, field explore karna chahta tha jismein ki maza aaye, ab life time aap koi kaam kare jisme aapko maza aaye toh life zyada aasaan ho jati hai, paise ko tab main utna mahtva nahi deta tha dimaag mein aur shayad down to earth tha toh paisa wageraah aage ban jayega, aisa sochta tha main aur I think mera jo belief tha uss waqt wo ekdum correct tha, I'm so happy ki main Mumbai aaya, thoda jo maine himmat dikhayi uss wajah se.' (Gradually, as my mind was telling me to do, I was trying that way, because I cannot do a job just to earn money, because it is important to enjoy the work, so I thought about which work I enjoy and I was always fascinated by films, so coming to Mumbai from Delhi was a difficult step for that, I did not think of acting, I wanted to explore a field in which I enjoy, now do some work in your life which you enjoy, then life becomes easier, then I do not give that much importance to money It was in my mind and maybe I was down to earth then I would be able to earn money in the future, I used to think so and I think my belief at that time was absolutely correct, I am so happy that I came to Mumbai, it is because I showed some courage.) What obstacles did Naveen Kasturia encounter when he moved to Mumbai? Naveen further said, 'Phir yahan aane ke baad aapko pool mein phenk diya gaya, jaise swimming pool mein swimming sikhaai jati hai, wo jaise karte hai ki sikhaate hue aapko pool mein phenk dete hain, toh phir jab aap haath pair maarte hai seekhne ke liye, struggle karne ke liye, survive karne ke liye. Toh Mumbai mein toh aapko bhaagna hi padta ai, survival ke liye, lekin 5-6 mahine mein mere paise khatam ho gaye aur phir survive kare ke liye aapko cheezein chahiye thi aur aap apni marzi ka bhi kaam karna chahte ho toh maine wo apne dimaag se nikaal diya, tab main ads bhi kar raha tha aur main bataur assistant director ki tarah bhi kaam kar raha tha, uske sath-sath main TV ke liye kuch writing ka part bhi kar raha tha and then 'Suleimani Keeda' happened, then TVF happened, then Pitchers happened and today, if somebody meets me and asks me ki kya hoga, bahut doubts hai, toh I tell them that there's no formula, har kisi ki alag journey hai yahan par, sab alag-alag raaston se aaye hain, mere according agar aapka intent clear hai toh phir aap usi direction mein automatically kaam karte hain toh kahin na kahin, kaise naa kaise raaste apne aap banne lag jate hain. Ab aaj main kisi ko ye nahi bata sakta ki ye show kar lo, ye kar lo, ya kis kism ki cheezein aapko karni chahiye, kyunki ye sab step by step and isme kismat ka bahut bada role hota hai, matlab main ye keh hi nahi sakta ki mere plan ke according kuch miracle nahi tha, maine kuch decisions liye the life mein, but kya main karu ya kya mere sath ho sakta ye apke control mein nahin hota, toh mere decisions ki wajah se cheezein hoti gayi, toh mujhe wahi lagta hai ki maze ke liye aaya tha, job chhodkar and I'm happy that things are happening.' (Then after coming here you were thrown into the pool, just like swimming is taught in a swimming pool, like they do that while teaching they throw you in the pool, so then you beat your hands and feet to learn, to struggle, to survive. So in Mumbai you had to run away to survive, but in 5-6 months my money ran out and then you needed things to survive and you also want to do work of your choice, so I removed that from my mind, at that time I was also doing ads and I was also working as an assistant director, along with that I was also doing some writing for TV and then 'Suleimani Keeda' happened, then TVF happened, then Pitchers happened and today, if somebody meets me and asks me what will happen, he has a lot of doubts, then I tell them that there is no formula, everyone has a different journey. Here everything comes from different ways, according to me if your intent is clear then you automatically work in that direction, and who knows what, somehow you start forming your own path. Now today I cannot tell anyone to show this, do that, or what kind of things you should do, because all this happens step by step and luck plays a very big role in it, meaning I cannot say that no miracle happened according to my plan, I had taken some decisions in life, but what I should do or what could happen to me was not in your control, so if things happened due to my decisions, then I still feel that I had come here for fun, after leaving my job and I am happy that things are happening.)

Book Review: Debut novelist Aisha Muharrar deftly explores love and loss in ‘Loved One'
Book Review: Debut novelist Aisha Muharrar deftly explores love and loss in ‘Loved One'

Hindustan Times

time20 minutes ago

  • Hindustan Times

Book Review: Debut novelist Aisha Muharrar deftly explores love and loss in ‘Loved One'

I picked up a copy of 'Loved One' based solely on the fact that its first-time author, Aisha Muharrar, was involved in three television comedies that made me laugh: 'Hacks,''Parks and Recreation' and 'The Good Place.' Book Review: Debut novelist Aisha Muharrar deftly explores love and loss in 'Loved One' The opening scene of 'Loved One' could be a set piece on any of those shows, as we jump inside the head of our narrator, 30-year-old Julia, who is delivering the eulogy at a friend's funeral, a popular indie musician at the time of his death. She thinks in pop culture tropes. 'Gabe and I were actual friends… We weren't the kind of friends who were never really friends. The kind of friends you see in a romantic comedy where there are two incredibly attractive people who are deeply emotionally invested in each other, and we're supposed to believe they have never once considered the idea of sexual intercourse.' Julia next goes to the bathroom and ends up needing to borrow a tampon from Elizabeth, a British woman Gabe had been dating for more than a year at the time of his accidental death. Elizabeth's words to Julia in their brief bathroom encounter set the rest of the story in motion: 'I know exactly who you were to Gabe.' After some required background about how Julia and Gabe met at a program for arts and architectural students in Barcelona in the summer between high school and college, Julia is on her way to London to retrieve a few of Gabe's things at the request of Gabe's grieving mother. 'I was a set of house keys buried at the bottom of a purse, finally plucked out, jangling with a purpose,' is the poetic way Muharrar describes Julia's feelings as she heads overseas. Once in London, the story takes on an almost buddy comedy feel, with Julia and Elizabeth warily befriending one another as they attempt to collect mementos of Gabe's — from a guitar he once played to a Mets cap he wore. We stay inside Julia's head most of the time, as she travels around London, still delivering inner monologues wrapped in her pop-culture sensibility: 'I liked learning a new tidbit about him. It was never-before-seen footage that kept the movie of his life rolling.' As the two women get to know one another, we as readers get to know more about their relationships with Gabe, and especially what happened in the final month or so before his death. Muharrar's work developing her main characters throughout the story allows her to explore deeper themes of grief and loss in the final third of the book without too much sentimentality. Closure may be too much to ask for these grieving women, but it's enough that they realize they still have lives to live without the object of the book's title. book reviews: /hub/book-reviews This article was generated from an automated news agency feed without modifications to text.

Chashni and chaos: An ode to the Indian mithai ki dukaan
Chashni and chaos: An ode to the Indian mithai ki dukaan

Time of India

timean hour ago

  • Time of India

Chashni and chaos: An ode to the Indian mithai ki dukaan

Hazaaron Khwashein Aisi Ki Har Khwaish Pe Dam Nikle; Bahut Nikle Mere Armaan Lekin Phir Bhi Kam Nikle… – Mirza Ghalib (perhaps, when he could not get his hands on his favourite sohan halwa from Ghantewala) Teej, Rakhi, Janmashtami, each of these festivals has begun to arrive, unabashed and unapologetic. Thus, officially, the great Indian festival season is upon us. During the festive season, every Indian city feels like it has been slow-cooked in desi ghee, garnished with pista, scented with khus-khus, and infused with treacly sweetness. And if you follow your nose through the gullies, you inevitably land up in front of the shrine of all this collective longing: the quintessential Indian sweet shop. The mithai ki dukaan where a rhapsodic symphony of food, craving, and appetite is being whipped up. And lest I have not made myself amply clear: this is not the boutique mithai shop of a five-star hotel, but the kind of sweet shop that exists in every colony and every market. It does not matter what it is called – Aggarwal or Gupta. The name, after all, is just a formality, as the shop is a shape-shifter – the ownership might change, but the items sold remain remarkably the same. Inside, the shop is an olfactory purist's delight (or nightmare, depending on whom you ask). It is a veritable theatre (or assault?) of the senses – stainless steel counters, open trays stacked with rabri or malai-covered melt-in-the-mouth ghevars, and pyramids of choti and badi boondi ke laddoo. There is no line, just a shifting, organic crowd powered by elbows and the ability to holler the loudest. An aunty in a cotton saree, smelling faintly of Pond's talcum powder, has taken the spot you were eyeing – with a look on her face that tells you that she could conquer empires for that last piece of kalakand. Meanwhile, an uncle is explaining to his teenage son the difference between Kaju Katli (unprompted, may I add – it is the oblation of the Gods) and Kaju Roll. The boy nods with the sullen resignation of someone who knows no escape until the box is packed and the invoice settled. A young, newly married couple is tasting samples like it is the cheese bar, nibbling at morsels of barfis, eyes slightly narrowed. There is considerable debate in a hushed tone. The husband prefers 'thoda kam meetha', but the wife rolls her eyes so hard that even Gabbar Singh would be petrified to argue with her. Ultimately, she wins (was there ever any doubt?) and they leave with 1.5 kilos of barfi that neither of them fully agreed upon. Ah, the vagaries of marriage. And then there is that guy, you know, the one on a Bluetooth call, simultaneously placing an order and closing a deal, saying things like, 'Haan bhaiya, teen dabbe aur pack kar do. No, not that. The one with the badam on top. And yes, push the proposal to Monday – Rakhi hai boss'. He is the peak of multitasking masculinity, and you want to both mock and salute him. Behind the counter, the staff is part-human and part-machine. The halwai does not ask what you want because he knows. He has been serving your family since before you could pronounce chamcham, he remembers your brother's engagement order, your grandfather's 70th birthday order, and that time you tried to smuggle away dhodha barfis while coming back from school. He zealously guards the jalebi and imarti trays like they hold state secrets. He packages sweets by slipping in an extra piece if he likes your vibe or looks at you like a concerned elder if you try to buy just 250 grams. And then there is you, caught between nostalgia and neurosis. You are here for a box of gulab jamuns, but somehow, you could not resist picking up mathura ke pede and some delectable besan laddoos. You wonder why you always buy too much, and also why it never feels enough. You leave the shop, already wondering who deserves which piece, and whether you will manage not to eat three gulab jamuns in the parking lot while pretending to make a call. There's something wildly comforting about this mess. No one is pretending here. There are no Instagram-influencer-friendly corners, and no muted palettes that have somehow become associated with a type of faux sophistication which would be laudatory, if not so empty. The local sweet shop is a seasonal portal to who we were and who we pretend to be; a scene of indulgence, and the sangam of taste and memory. It amplifies the idea that mithai in India is an emotional compass. You know exactly where you are in someone's heart, depending on the weight of the mithai box they hand you. A half-kilo? You are just about tolerable. One kilo? You have done something right. Two kilos? They are probably feeling guilty about something. And it is in these small, glowing shops, that the festive glow lives. And you, dear reader, are part of this symphony, coming back every year for another delicacy dripping with redolent chashni. Facebook Twitter Linkedin Email Disclaimer Views expressed above are the author's own.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store