Sam Bahadur movie review: Meghna Gulzar's latest film dramatizes the life of Field Marshal Sam Manekshaw, but falls short in capturing the nuances of his adventures and witticisms.
Sam Bahadur boasts a compelling lineup of strengths. With director Meghna Gulzar at the helm, known for her previous successes in Talvar (2015) and Raazi (2018), the film carries a promising pedigree. Adding to the anticipation is Vicky Kaushal, adept at portraying characters on patriotic missions, as demonstrated in Uri: The Surgical Strike (2019) and Sardar Udham (2021). Lastly, the narrative delves into the life of the legendary Field Marshal Sam Manekshaw, a remarkable figure who survived being shot nine times by a Japanese soldier during WWII, adding a layer of intrigue to the tale.Squirming and shifting in your seat, the anticipation for that moment of cinematic brilliance lingers. A grin emerges as writer Bhavani Iyer and director Meghna Gulzar attempt to inject humor. Yet, as the credits roll, the essence of Sam Bahadur remains elusive. Exiting the cinema, the experience feels akin to a freshly retold annual online listicle on Manekshaw—bestowing humble pie even upon the country's Prime Minister, adorned with a distinctive bushy handlebar mustache, and dispensing both bangles and battlefield aphorisms.
Biopics navigate a precarious terrain, often constrained by episodic structures and the challenges of adhering to accuracy and length. The memorability of such films hinges on where the central conflict is situated. In the case of Oppenheimer, released earlier this year, it revolved around the protagonist's security clearance revocation, forming the core of the narrative. Sam Bahadur, on the other hand, opts for a straightforward portrayal of its esteemed protagonist, refraining from narrative fireworks, divergence, or critical exploration of Manekshaw's recent characterization as the ultimate sigma male. The film is unwaveringly dedicated to bringing his legend to life on screen, resulting in a hagiography. Interestingly, the portrayal of Manekshaw's Pakistani counterpart, Yahya Khan (Mohd Zeeshan Ayyub), receives more nuance, albeit accompanied by some unsettling aging makeup and prosthetics.
If there's one element that keeps you engrossed in this film, it's undeniably Vicky Kaushal. Following a somewhat underwhelming year with roles in Govinda Naam Mera, Zara Hatke Zara Bachke, and The Great Indian Family, Sam Bahadur provides Kaushal with the kind of material that allows his magic to shine, reminiscent of his performances in Sardar Udham, Raazi (2018), and Masaan (2015). In the hands of a lesser actor, Manekshaw's distinctive gait, altered vocalization, and well-known effortless charm might risk appearing as a caricature. However, Kaushal, ever-confident, maintains a strong grasp on the character. His offscreen candor and self-acceptance seamlessly translate into the protagonist's optimism and unshakeable faith in his own abilities.
Sanya Malhotra, portraying Sam's charming wife Silloo Bode, provides an emotional anchor to the Manekshaw household. She complements his maverick energy with the same ease she has recently demonstrated in Jawan and Kathal. The film frequently hints that Manekshaw's victories come at the expense of Silloo and their daughters. On the other hand, Fatima Sana Shaikh's portrayal of Indira Gandhi is somewhat unsteady, with casting choices bearing the brunt of the blame.
Despite the evident musical prowess of Shankar-Ehsaan-Loy, the film's soundtrack is loud, distracting, and lacks melody. Surprising, given the trio's previous successful collaboration with Gulzar in Raazi. The war anthem "Badhte Chalo" is notably insipid and inelegant. While Sam Bahadur effectively utilizes archival footage to enhance the narrative and infuse a documentary gravitas, this also contributes to the film's passive linearity and abrupt time leaps.
Sam Bahadur presents itself as a charming and engaging portrayal through the various segments of Manekshaw's life that collectively shape the film's plot. These segments are executed with precision in terms of cinematography, design, and performances (with commendation to cinematographer Jay I Patel's work on the air strikes and combat scenes in Burma). These individual elements might indeed justify watching this larger-than-life vignette reel on the big screen. However, the threads that connect them, such as Manekshaw's banter with his radio set-carrying cook, the protagonist's ballroom meet-cute with his lady, or the sequence featuring his widely popular declaration about Gurkhas and fear, feel disjointed and could benefit from some leniency considering the film's predominantly optimistic tone.
Starring: Vicky Kaushal, Sanya Malhotra, Fatima Sana Shaikh, Mohammed Zeeshan Ayyub, Neeraj Kabi
Directed by: Meghna Gulzar
