Latest news with #SankaranNair
Indian Express
03-05-2025
- Entertainment
- Indian Express
Kesari 2 was made with the intention to highlight Sankaran Nair's courage and bravery, says director Karan Singh Tyagi: ‘Our goal was pretty clear'
Kesari Chapter 2, directed by Karan Singh Tyagi, stars Akshay Kumar as C Sankaran Nair, who fought against the British Empire after the Jallianwala Bagh massacre. The film, which is based on the book The Case that Shook the Empire, has been adapted for the film and at the ongoing Waves Summit 2025, Karan explained how he balanced 'facts with drama' for the film. During the SCREEN panel discussion titled 'Old Ghosts, New Generation: Portrayal of Colonial History in Indian Cinema and its Relevance', Karan said that his core intention with making the film was to honour Sankaran Nair's courage and bravery. 'So one of my screenwriting heroes, Aaron Sorkin, said that movies on real-life events and real-life people need not be photographs. They can be paintings. Because a photograph is accurate representation of that period but in a painting, one gets more freedom, more latitude to create drama, to create interpersonal dynamics, which is what we set out to do,' he said and explained his goal with making the film. 'Our goal was pretty clear. Our goal was that the country needed to know about Sankaran Nair and in order to do that, we also had the family's blessings with us because the book that we were adapting, 'The Case that Shook the Empire, was written by Sankaran Nair's great-grandson. So we went on to create a transformational arc for the character by understanding insights from his life where Sankaran Nair goes from a point of being a British aristocrat, somebody who was knighted by the British empire into becoming the country's biggest patriot,' he said. Karan mentioned that they were careful about not deviating from the realities of the massacre that happened at Jallianwala Bagh in 1919. 'We were very mindful that we were not deviating from the factual realities of Jallianwala Bagh so everything that you see about Jallianwala Bagh in the film is accurate and is taken from the book,' he said. In the same chat, Karan also spoke about his intention to make a film about Sankaran Nair's courage and bravery. 'We wanted everyone in the country and the world to know about Sankaran Nair's courage. So every decision that we took, every fact that we adapted was to honour his bravery, was for the country to understand his fight, his struggle,' he said. Kesari Chapter 2 also stars Ananya Panday and R Madhavan.
Indian Express
25-04-2025
- Entertainment
- Indian Express
‘Sankaran Nair put the whole British Empire on trial': Kesari 2 director reveals how Mahatama Gandhi, who had his differences with the lawyer, changed his opinion
Based on the aftermath of Jallianwala Bagh massacre, Kesari Chapter 2 has been in the news for its subject matter and its treatment. The film, after one week, sits at a net India collection of Rs 46.10 crore, with the Akshay Kumar starrer competing with Sunny Deol's Jatt, which has collected Rs 80 crore till now. The director of the film, Karan Singh Tyagi, recently went on a podcast and talked about the background of the narrative, including the relationship between Mahatma Gandhi and C. Sankaran Nair. Nair, who was a believer in the British Empire, quickly changed his stance after the Jallianwala Bagh massacre and decided to call out the colonisers in a book called Gandhi and Anarchy. Tyagi talked about this very incident and how much of the film was directly inspired by the book penned by Sankaran, The Case That Shook The Nation. 'Sankaran Nair wrote a book called Gandhi and Anarchy, and he got sued for defamation for writing that book. The fact that I am a lawyer helps me because to counter the defamation suit, you need to prove what happened at Jallianwala Bagh. So we have kept the soul and the essence from the book (The Case That Shook The Nation)'. He then proceeded to talk about another story which he got from the book that highlighted the relationship between Sankaran and Mahatma Gandhi. 'Mahatma Gandhi and Sankaran Nair had their differences, but after the trial, Gandhi stated that 'Sankaran Nair has not only put Michael O'Dwyer on trial but the whole British Empire on trial, and that they have been found wanting,' he told Bollywood Hungama. Even though many questions have been raised regarding the film's historical accuracy, Tyagi maintained throughout the interview that everything in the film comes from the original literature and that he read several books and testimonies of the survivors. 'We were honouring the sacrifice of people who came to the Bagh to celebrate Baisakhi and left as martyrs, and we were honouring the sacrifice of one of India's forgotten heroes, Sankaran Nair. So we had to be authentic, and we had to be sensitive to the material,' added the director. An alumnus of Government Law College, Mumbai, Karan did his LLM from Harvard Law School. He went on to work at international law firms in Paris and New York, but 'bitten by the Bollywood bug', he returned to India and assisted Vishal Bhardwaj on Rangoon. The historical courtroom drama was released on April 18, and the cast of the film includes Akshay Kumar, R. Madhavan and Ananya Panday.
Muscat Daily
24-04-2025
- Entertainment
- Muscat Daily
Bollywood movie review: Kesari 2
A tale of justice delayed but not denied There have been many movies on the infamous Jallianwala Bagh massacre in India in 1919 – the latest Akshay Kumar starrer Kesari 2 has once again ignited emotions of pain, anger and patriotism. More than 1000 people were killed in the massacre after British General Dyer ordered army troops to open fire on a crowd of civilians rallying in a park. Though the British tried to suppress details, enough pressure had been built to bring forth a proper answer. That's history, and then there's Kesari 2 . At the film's centre is Sankaran Nair (Akshay), a respected Malayali lawyer who was part of the Executive Council. To make him the 'pet' of the empire, he was also bestowed with Knighthood. With time, he was troubled by the events in Punjab that led him to fight a case against the 'Crown' where he blamed Dyre for the genocide. The film is inspired by The Case That Shook the Empire , co-authored by Raghu Palat and Pushpa Palat – descendants of Sankaran Nair. Set against the backdrop of post-massacre colonial India, it follows Nair's defamation case against Michael O'Dwyer, the then Lieutenant Governor of Punjab, after Nair criticised British actions in his 1922 book Gandhi and Anarchy . Directed by Karan Singh Tyagi, the film takes its base from the book and takes creative liberty to make it more dramatic. It is difficult to think of a any mainstream actor in a comedy role and Akshay Kumar has always excelled in it. However, without any doubts of him as a good comedy actor we have very little roles of Kumar where he matches the aura of a serious pain-stricken man. And that is what he does so diligently with the character of Nair in the movie. There has been a clear change in his character and dialogue delivery as the narrative progresses. A few scenes that stand out are Sankaran Nair being stopped for accessing the courtyard as 'dogs and Indians are not allowed', Shankaran's visit to Pargat and Dilreet filing the case with Shankaran's sudden appearance at the court. Post-interval, the Martha Stevens track is very memorable. The climax might seem predictable and yet, it packs a punch. The film ends on an exhilarating note, though the incessant 'F' word slur seemed a bit exaggerated. Sharing the screen alongside Akshay is R Madhavan, who portrays Advocate Neville McKinley, representing the British Crown. Ananya Panday plays the pivotal role of Dilreet Gill, a key supporter in Nair's legal battle. Both the co-stars put a strong performance, though Madhavan could have been given more screen time. Although his character is interesting, he remains mum during the crucial pre-climax and climax sequences. A more engaging climax might have done wonders for the movie. Director Karan Singh Tyagi's choice to turn a historically significant event into a courtroom drama is commendable. The way he blended the courtroom drama format with a historical context pushes the narrative forward in an interesting manner. The background score by Sashwat Sachdev added intensity to a few crucial scenes while the solid cinematography poignantly captured the essence of a bygone era. The editing was equally tight and special credit must go to the tight script and screenplay. While the film raises patriotic feelings among the Indian populace, along with contempt for the condemnable British Raj, it also carries an unnecessary item song (who asked for it?), despite the fast pace which arouses tension, suspicion, and anxiety in every frame. Genre: Period, DramaStarring: Akshay Kumar, R Madhavan, Ananya PandayRating: ***
Indian Express
21-04-2025
- Entertainment
- Indian Express
Kesari 2 director calls Akshay Kumar-starrer ‘synthesis of history and fiction': ‘Films based on real-life events aren't supposed to be photographs'
There's an ongoing conversation around Akshay Kumar's latest film Kesari 2, with many questioning whether it's a fictional story that uses real-life characters. The film stars Akshay in the role of lawyer SC Sankaran Nair, who legally fought the British Empire in the aftermath of the Jallianwala Bagh massacre in 1919. In a recent interaction, the film's director Karan Singh Tyagi addressed the issue and called the film a 'synthesis of history and fiction.' During an interaction with Bollywood Hungama, when Karan was asked if Kesari 2 is a 'synthesis of history and fiction,' he agreed and responded, 'You called it a 'synthesis of history and fiction' — and that's exactly what I wanted it to be. One of my screenwriting heroes, Aaron Sorkin, once said that films based on real-life events aren't supposed to be photographs. They can be paintings. In a painting, there's more room for interpretation, more latitude to dramatize and express an idea.' Karan admitted that he took creative liberties so the film could reach a wider audience. He said, 'That's what I aimed to do. I wanted Sankaran Nair's story to reach as wide an audience as possible. With the support of his family, my co-writers and I set out to portray a man's journey from a British loyalist to one of India's fiercest patriots — someone who used the power of the courts to challenge an empire.' Despite the criticism, Kesari 2 was hailed by several political dignitaries including Delhi Chief Minister Rekha Gupta, Union Minister Hardeep Singh Puri, BJP MP Bansuri Swaraj, Delhi Minister Manjinder Singh Sirsa, and Minister Anurag Thakur during its screening in Delhi. SCREEN review of the film by Shubhra Gupta read, 'While the film is clearly aligned with the Make India Great Again thinking, you can spot a couple of smartly subversive ideas nestling in there. A line about a joint 'Hindu-Muslim' celebration around Ram Navami which happened for the 'first time ' just before the massacre (apparently the dangerous thing that incensed the divide-and-rule British masters so much that it put the pre-planned executions at Jallianwala Bagh into motion, according to the film) tells us such a thing actually happened, something that seems like a receding hope these days. And both the British and Indian lawyers blow the bugle for 'freedom of speech': now where have we heard that phrase before? And can it gain currency again?'
Gulf News
18-04-2025
- Entertainment
- Gulf News
Kesari Chapter 2 Review: Akshay Kumar roars, Madhavan scores in this flawed but fiery courtroom showdown
There's a long-standing belief that Bollywood often gets its portrayal of South Indians wrong — and Kesari: Chapter 2, Akshay Kumar's borderline-jingoistic courtroom drama, does little to change that. But honestly, that's the least of my concerns. This overcooked courtroom procedural introduces its hero with a jingle blaring lyrics like 'lion roar' — subtlety clearly left the chat (and the courtroom) — setting the tone for the Bollywood bombast that follows. Akshay Kumar, long seen as the flag bearer of saffron-tinted cinema pushing a hyper-patriotic agenda, continues to march forward in iron boots — loud, forceful, and unapologetically on-brand. He plays Malayali lawyer Sankaran Nair, who dares to take on the British Crown and General Reginald Dyer, the man responsible for the 1919 Jallianwala Bagh massacre in Amritsar. Nair accuses Dyer of genocide, and the film chronicles his courtroom theatrics and legal crusade with more flair than nuance. South Indian actor R. Madhavan, who plays Kumar's adversary in the courtroom, feels far more convincing in his role than Akshay Kumar. Note to directors: smearing vibudhi on the forehead, making him a Kathakali dancer, and tossing in a poorly-accented one-liner in Malayalam toward the end does not equate to authentic representation. Instead, it comes off as painfully performative and on-the-nose. At times, it feels like the filmmakers are dabbling in cultural appropriation rather than celebrating a culture. Perhaps Akshay Kumar is seen as the more bankable star — but nearly every scene reminds you this film would've worked far better if their roles had been reversed. Former friends turned estranged peers face off in court — but let's not forget why they're sparring in the first place. The film opens with the Jallianwala Bagh massacre, where General Dyer orders the brutal killing of unarmed Indians in Punjab. He believes he's done the world a favour by flushing out what he sees as suppressors. Initially, Sankaran Nair is portrayed as an anglicised lawyer, seemingly out of touch with the plight of his people — hand-in-glove with the British Viceroy's Commission, accepting a knighthood with pride while thousands of his countrymen are slaughtered. But the infamous 'Dogs and Indians not allowed' sign outside an elite club gives him pause. Apparently, nothing riles up a colonial loyalist quite like being denied club entry — and just like that, we have a rebel with a cause. Pushing him onto his righteous path is the young, doe-eyed, and inexperienced lawyer Diljeet Gill, played with earnestness by Ananya Panday. Just as Sankaran Nair prepares to leave Punjab, she reminds him that she fought against her own family to pursue law. He firmly counters that fighting for education and equal rights at home isn't quite the same as challenging the British Crown in court. In the courtroom, he says, there is no right or wrong — only winners and losers. That credo is repeated so often, it makes you wonder whether we, the audience, are the real losers for putting our money on this film. It's not a badly made film — just a loud one, about as subtle as the judge's gavel that keeps pounding away. The film finally finds a pulse when R. Madhavan — a colonial loyalist thirsting for British validation — is yanked out of his whisky-soaked sabbatical and plonked into court to take on Sankaran Nair. These scenes actually crackle with tension. Even when he's made to hum the same mournful tune the Titanic guests sang — a not-so-subtle dig that his old friend is about to go down like that epic ship — Madhavan delivers it with straight-faced gravitas. It's the kind of scene that should sink, but he keeps it afloat with sheer presence. One of my biggest pet peeves? The British trying to speak Hindi. It almost always feels painfully fake and put-on. Barring a few rare exceptions — like Rang De Basanti, where Alice Patten's presence was actually digestible — it just comes off as caricaturish. It's not about racism; it's about believability. Seasoned British actor Simon Paisley Day tries his best to channel the sadistic, racist General Dyer, but it all ends up feeling cartoonish and over-the-top. His performance lacks menace and instead borders on panto villain territory — complete with sneers and snarls that feel better suited for a stage parody than a historical courtroom drama. While the opening scenes depicting the massacre are beautifully staged, there's something unsettling about how stylised it all feels. The brutal reality of unarmed protestors being gunned down, and women leaping into wells to escape a trigger-happy British officer, is glossed over by the film's almost lyrical visual treatment. Here's my issue: when real-life tragedy and bloody carnage are shot like a perfume ad — with slow-motion, pristine frames, and stylised chaos — it becomes difficult for viewers to actually feel the pain. The horror feels cosmetic, almost sanitised. And that's a disservice to the gravity of what really happened. The ever-dependable Akshay Kumar, one of Bollywood's most bankable stars, surprisingly struggles in the emotionally charged moments but comes alive when he's called on to scream, roar, and flex his hyper-macho persona. He seems most at home when he's being potty-mouthed, yelling at the British to get out of his country. The film ends on the predictable but pointed note that India is still waiting for a simple apology — 'sorry.' While it's a powerful message, and yes, we do feel the weight of that historical injustice, we're somehow left emotionally unmoved. And then there's that one scene that truly triggered me — Akshay, dejected after a courtroom loss, turns to his wife (played by Regina Cassandra) and declares defeatedly , 'Let's go home,' in awkwardly accented Malayalam. It was meant to be tender. It landed like a thud. The writing is also painfully on the nose — every emotion, every takeaway, is spelled out for the audience as if we can't be trusted to feel it ourselves. Scenes feel engineered for effect rather than earned. Take, for instance, the young boy who witnesses the Jallianwala Bagh massacre, only to be later found with his wrists slit. It's powerful imagery, yes, but stripped of emotional buildup or nuance, it lands hollow. The intent is clear, but the context — the soul — is somehow missing. While both Madhavan and Akshay Kumar did manage to convince me — even stir anger over the criminal and brutal injustices committed by our colonisers — I couldn't bring myself to feel anything for the principal players. Their performances had moments, but the emotional core felt undercooked. In the end, it was a wasted opportunity to tell a story that deserved more depth and authenticity.
