“Sam Bahadur” Film Review: An Uncomplicated and Unmemorable St0ryline Fueled by Vicky Kaushal

“Sam Bahadur” Movie Review: Meghna Gulzar’s Latest Dramatizes Field Marshal Sam Manekshaw’s Life Without Nuance.

sam bahadur movie review

“Sam Bahadur” Movie Review: Abundant Potential but Falls Short. Director Meghna Gulzar, riding high on the success of “Talvar” (2015) and “Raazi” (2018), presents a promising narrative. Starring Vicky Kaushal, known for portraying characters dedicated to national causes, the film delves into the life of the legendary soldier Field Marshal Sam Manekshaw. Despite the remarkable backdrop of a soldier’s life, the execution leaves something to be desired.

Squirming and shifting in your seat for an extended duration, you eagerly await that pivotal moment of cinematic brilliance. A smile creeps across your face when writer Bhavani Iyer and director Meghna Gulzar inject moments of humor. However, as the credits roll, the essence of “Sam Bahadur” remains elusive. Leaving the movie hall, the experience feels akin to encountering a freshly narrated rendition of the annual online listicle on Manekshaw — the renowned figure, bestower of humble pie even to the country’s then Prime Minister, distinguished by his bushy handlebar mustache, and purveyor of both bangles and battlezone aphorisms.

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Biopics often navigate a precarious path as a genre, constrained by the challenge of adhering to an episodic structure and grappling with the demands of accuracy and runtime. The essence of a memorable biopic lies in how and where it positions the central conflict. In the case of Oppenheimer, released earlier this year, it revolved around the revocation of the protagonist’s security clearance, weaving the film around this pivotal moment.

In contrast, Sam Bahadur opts for a straightforward approach in narrating the story of its esteemed protagonist, avoiding narrative fireworks, digressions, or complexities regarding Manekshaw’s recent characterization as the ultimate sigma male. The film demonstrates a singular commitment to bringing the legend of Sam Manekshaw to life on screen, culminating in a portrayal that tends towards hagiography. Interestingly, the characterization of Manekshaw’s Pakistani counterpart, Yahya Khan (Mohd Zeeshan Ayyub), exhibits more nuance, albeit with the use of some unsettling aging makeup and prosthetics.

If there’s a compelling element that keeps you engrossed in this film, it undeniably is Vicky Kaushal’s performance. Following a relatively subdued year with less impactful roles in Govinda Naam Mera, Zara Hatke Zara Bachke, and The Great Indian Family, Sam Bahadur offers Kaushal the kind of material that allows him to display the magic he has previously demonstrated in Sardar Udham, Raazi (2018), and Masaan (2015).

Amidst the challenge of portraying Manekshaw’s distinctive gait, affected vocalization, and widely acknowledged effortless charm and quick wit, Kaushal avoids the pitfalls of creating a caricature. His unwavering confidence and self-acceptance off-screen seamlessly translate into the protagonist’s optimism and steadfast belief in his capabilities, establishing Kaushal as a performer with a firm grip over his character.

Sanya Malhotra, portraying Sam’s charming wife Silloo Bode, adds an emotional anchor to the Manekshaw household, seamlessly complementing his maverick energy. Her performance reflects the ease she has recently demonstrated in Jawan and Kathal. The film frequently alludes to the notion 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 critiqued as largely unsteady, with blame attributed to the casting choice. The film’s music, characterized as loud, distracting, and unmelodious, is unexpected given Shankar-Ehsaan-Loy’s musical prowess and their previous successful collaboration with Gulzar in Raazi. Despite a mediocre background score, Sam Bahadur effectively utilizes archival footage to enhance the narrative and infuse a documentary-like gravitas into the proceedings. However, this contributes to the film’s passive linearity and abrupt time leaps.

“Sam Bahadur” unfolds as a sweet and engaging mosaic of individual segments from Manekshaw’s life, collectively forming the film’s plot. These segments are skillfully shot, designed, and acted, with cinematographer Jay I Patel earning praise for his work on the air strikes and combat scenes in Burma. These moments may indeed make watching this larger-than-life vignette reel in theaters worthwhile.

However, the threads connecting these segments, including Manekshaw’s banter with his radio set-carrying cook, the protagonist’s ballroom meet-cute with his lady, or the sequence where he makes a widely popular declaration about Gurkhas and fear, appear disjointed. These elements could benefit from some leniency given the film’s predominantly optimistic tone. The need for cohesive storytelling becomes evident, and a more forgiving approach might enhance the overall viewing experience.

 

 

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