×

The Legend of Bhagat Singh / 23rd March 1931: Shaheed

Indian freedom fighter Bhagat Singh, hanged by the Brits in 1931 at age 23, gets structurally similar but tonally different interpretations of his life in two much-hyped pics going head to head on the subcontinent's screens this summer. Neither do full justice to the legend, though both movies have their individual strengths.

With:
The Legend of Bhagat Singh With: Ajay Devgan, Sushant Singh, Santosh, Farida Jalal, Amrita Rao, Akhilendra Mishra, Raj Babbar, Mukesh Tiwari, Jonathan Ryan, Gil Alon.
(Hindi, English, Punjabi & Bengali dialogue.) 23rd March 1931: Shaheed With: Bobby Deol, Sunny Deol, Amrita Singh, Tej Sapru, Rahul Dev, Vicky Ahuja, Viveck Shauq, Deepak Sharma, Suresh Oberoi, Akshay Anand, Shakti Kapoor, Raja Bundela, Aishwarya Rai.
(Hindi dialogue.)

Indian freedom fighter Bhagat Singh, hanged by the Brits in 1931 at age 23, gets structurally similar but tonally different interpretations of his life in two much-hyped pics going head to head on the subcontinent’s screens this summer. Neither “23rd March 1931: Shaheed” nor “The Legend of Bhagat Singh” do full justice to the 20th-century legend, though both movies have their individual strengths. “Shaheed” (literally, “martyr”) has a hectoring, revolutionary ardor that disguises its rather vanilla script; “Legend” has a stronger lead thesp and richer gallery of characters that triumph over often unsubtle direction. In Western markets, both are of curio interest only.

Of the five movies on Singh due out this year, “Shaheed” and “Legend,” which both opened June 7, are the second and third. Sukumar Nair’s lower profile “Shaheed-e-Azam” opened May 31 but was quickly overwhelmed; still to come are Tarun Wadhwa’s “Shaheed Bhagat Singh” and a version by director Keval Kashyap.

Both current pics have performed well in some regions of India but overall below expectations, with auds favoring the glossy romantic comedy “Mere yaar ki shaadi hai” instead.

Both movies start outside Lahore Jail in 1931 and then flash-back to Singh as a kid witnessing the 1919 Jallianwala Bagh Massacre in Amritsar. At college, he befriends agitators Sukhdev and Rajguru (who are eventually to be hanged alongside him), and all three join the Hindustani Republican Assn.

After rejecting a marriage arranged by his parents, in April 1925 Singh helps to rob a train carrying British funds; three years later, the revolutionaries bungle a reprisal shooting of an English soldier. Singh escapes from Lahore by dressing in Western guise (his trademark hat and moustache) and posing as a wealthy pro-Brit Indian.

Part 2 of both movies starts with Singh & Co. throwing a bomb in parliament in April 1929 to deliberately get arrested. In jail, Singh organizes protests and a hunger strike — and finally has to be dealt with.

Both movies soft-peddle Singh’s atheism and admiration of Marxism, though “Legend” at least mentions them. In the development of its supporting characters — with an especially good perf by Sushant Singh as Sukhdev — “Legend” is the far richer movie and, especially during Part 2, does develop some political discussion.

At the end, “Legend” even queries whether modern India has betrayed the sacrifices of Singh & Co. Most controversially, it effectively blames Mahatma Gandhi for Singh’s execution — or at least, for not trying very hard to stop it.

In “Shaheed,” Gandhi is not even shown on screen, and even major characters like Sukhdev and Rajguru are downplayed in favor of Singh. Pic is essentially an unshaded, one-man revolutionary drama, with an often thunderous score in the action sequences, tough songs by Anand Raaj Anand and — apart from a magical appearance by megastar Aishwarya Rai as Singh’s putative wife — almost no moments of softness as it charges ahead like a tank.

In comparison, “Legend” is drawn with more warmth; and Ajay Devgan, though looking too old for the part, makes a far more sympathetic hero than the inexpressive Bobby Deol in “Shaheed.”

Both pics show evidence of having been rushed to get into theaters, with the rhythm in the first half of “Legend” (which is half-an-hour shorter) especially choppy. Overall, both films are about even on the tech side, with an ochry period look and some sequences better-staged in one than the other. Musically, A.R. Rahman’s typically rhythmic score for “Legend” wins by a nose over Anand’s for “Shaheed.”

The Legend of Bhagat Singh / 23rd March 1931: Shaheed

India

Production: The Legend of Bhagat Singh A Tips Films presentation and production. Produced by Kumar S. Taurani, Ramesh S. Taurani. Directed by Rajkumar Santoshi. Screenplay, Anjum Rajabali, Piyush Mishra. 23rd March 1931: Shaheed A Dharmendra presentation of a Sunny Super Sound production. Executive producer, Deepak Sharma. Directed by Guddu Dhanoa. Screenplay, Sutanu Gupta, Sanjay Masoom.

Crew: The Legend of Bhagat Singh Camera (color, widescreen), K.V. Anand; editor, V.N. Mayekar; background & song music, A.R. Rahman; lyrics, Sameer; art director, Nitin Chandrakant Desai; costume designer, Bhavna Mukhatiwala; sound (Dolby Digital); choreographer, Ganesh Acharya; action director, Allan Amin; assistant director, Abiyaan Rajhdis; associate director, Deepak Grewel. Reviewed at Feltham Cineworld 1, London, June 20, 2002. Running time: 155 MIN. (I: 72 MIN.; II: 83 MIN.). 23rd March 1931: Shaheed Camera (color, widescreen), Thiru; editor, Keshav Naidu; background music, Surinder Sodhi; song music, Anand Raaj Anand; lyrics, Dev Kohli, Ram Prasad Bismil; art director, Nitish Roy; costume designer, Simple Kapadia; sound (stereo), Suresh Paswan; sound designer, Suroj Khan; action director, Tinu Verma; special effects, Jatin Pawa; associate director, Shawn Jhajj. Reviewed at Warner Village West End 3, London, June 7, 2002. Running time: 185 MIN. (I: 84 MIN.: II: 101 MIN.).

With: The Legend of Bhagat Singh With: Ajay Devgan, Sushant Singh, Santosh, Farida Jalal, Amrita Rao, Akhilendra Mishra, Raj Babbar, Mukesh Tiwari, Jonathan Ryan, Gil Alon.
(Hindi, English, Punjabi & Bengali dialogue.) 23rd March 1931: Shaheed With: Bobby Deol, Sunny Deol, Amrita Singh, Tej Sapru, Rahul Dev, Vicky Ahuja, Viveck Shauq, Deepak Sharma, Suresh Oberoi, Akshay Anand, Shakti Kapoor, Raja Bundela, Aishwarya Rai.
(Hindi dialogue.)

More Film

  • Glass Movie

    'Glass' to Rank in Top 3 MLK Debuts With $48 Million

    M. Night Shyamalan’s “Glass” is on its way to a solid debut with an estimated $48 million for the four-day Martin Luther King Jr. weekend. A sequel to 2000’s “Unbreakable” and 2017’s “Split,” the Universal superhero thriller should bring in around $41 million from 3,841 domestic locations over the Friday through Sunday period. The estimates are [...]

  • China's 'Three Adventures of Brooke' to

    China's 'Three Adventures of Brooke' to Hit French Theaters (EXCLUSIVE)

    Midnight Blur Films has signed a deal with French distributor Les Acacias to release Chinese arthouse drama “Three Adventures of Brooke” in France this year, the Chinese production company told Variety on Saturday. A release date has yet to be set for the film, which premiered at the Venice Film Festival and stars Chinese newcomer Xu Fangyi [...]

  • Noe Debre On His Directorial Debut,

    Top French Screenwriter Noe Debre Makes Directorial Debut, ‘The Seventh Continent’

    This last half-decade, few French screenwriters have run up such an illustrious list of co-write credits as Noé Debré. Thomas Bedigain’s writing partner on Jacques Audiard’s Cannes Palme d’Or winner “Deephan,” Debra co-penned Bedigain’s own debut, “The Cowboys,” “Racer and the Jailbird,” by Michael Roskam, and “Le Brio,” directed by Yvan Attal. He has now [...]

  • Julien Trauman Talks Survival-Thriller Short ‘At

    Julien Trauman on Survival-Thriller Short ‘At Dawn’

    France’s Julien Trauman has never been afraid to play with genre, and in his latest short, the MyFrenchFilmFestival participant “At Dawn,” he employs aspects of psychological thriller, survival, coming-of-age and fantasy filmmaking. “At Dawn” kicks off the night before when a group of teens, one about to leave town, are imbibing heavily around a beach-side [...]

  • ‘Flowers’ Director Baptiste Petit-Gats Interview

    Baptiste Petit-Gats: ‘Editing Taught Me How to Write for Film’

    France’s Baptiste Petit-Gats is an hyphenate that keeps himself plenty busy editing, photographing, writing and directing. The bulk of his editing gigs up until now have been in documentary film work, evident in the way he shot and edited his own short film, participating in the MyFrenchFilmFestival, “Flowers.” In the film, Petit-Gats tells the heartbreaking [...]

  • Fanny Litard, Jérémy Trouilh on ‘Blue

    France’s Fanny Liatard, Jérémy Trouilh Discuss MyFFF Suburban Fable ‘Blue Dog’

    French filmmakers Fanny Liatard and Jérémy Trouilh met at university while studying political science before diverging towards separate careers. Trouilh trained in documentary filmmaking; Liatard worked on urban artistic projects in Lebanon and France. They eventually joined back up to film three shorts: “Gagarine,” a Sundance Channel Shorts Competition Jury Prize winner in 2016; “The [...]

  • MFFF: 'The Collection' Director Blanchard Readies

    'The Collection' Director Emmanuel Blanchard Readies First Feature

    Paris-born Emmanuel Blanchard studied and then taught history before becoming a documentary filmmaker responsible for films such as “Bombing War,” “Le diable de la République” and “Après la guerre.” He’s currently directing “Notre-Dame de Paris”, a 90-minute animated part-doc, part-fiction film on the building of the world-famous Paris cathedral. Competing at MyFFF, “The Collection” is [...]

More From Our Brands

Access exclusive content