Lagaan: Once Upon a Time in India (2001)

Directed by: Ashutosh Gowariker | 224 minutes | romance, adventure, musical | Actors: Aamir Khan, Gracy Singh, Rachel Shelley, Paul Blackthorne, Suhasini Mulay, Kulbhushan Kharbanda, Raghuveer Yadav, Rajendra Gupta

If there is one ideal film to introduce the Western audience on a large scale to a “Bollywood” film, that is, a product from the Hindustani film industry (located in Bombay), it is ‘Lagaan’. This film is a true Indian blockbuster, which has been praised practically unanimously by (worldwide) critics and received an Oscar nomination for Best Foreign Language Film in 2002. It is not difficult to see what makes ‘Lagaan’ so attractive. Attractive, charismatic actors feature in a technically skilled film with beautiful shots of Indian landscapes, which give shape to a story that is recognizable for an international audience, while the exotic, traditional elements of a Bollywood film (such as song and dance, and love triangles) are also abundant. present. Actually the only non-compromising aspect of the film is its length: about three hours and three quarters of an hour.

Not that you really notice this length while watching the movie. The minutes really do fly by in this inspiring, funny, and touching film. Only during the final of the film, when the decisive (local) battle between the Indian population and the British ruler takes place, is the film drawn out a bit long. This battle, which is the focus of the entire film, takes the form of a decisive cricket match. cricket? That dull game with such a bat, a ball and some stakes? That’s right, that game. It does indeed sound like a bad subject for a film, but director Gowariker succeeds amazingly well in capturing this (for a large audience) initially unappealing (viewer) sport on film in an exciting way. By letting the affinity with the sport pass through the Indian players, who are also somewhat dismissive of it at the beginning, and gradually have to discover the sport, the viewer’s interest in this is almost automatic. But most importantly, the cricket match to be played is the (only) means for the Indian characters to escape the inhumane policies of the British authorities. In fact, Captain Russell has given Bhuvan just one option to get rid of the agricultural tax (lagaan) after calling British sport a “stupid game” a little earlier: he must beat the British in a game of cricket. However, if they lose, the tax is tripled. It’s a somewhat contrived premise, but this is the plot point that drives the rest of the film. This quirky twist makes it a little difficult for the viewer at first to attach enough value to the story dramatically, but once Bhuvan has taken on the task and we see him put his heart and soul into convincing his fellow villagers to form a team, we become more and more carried away with the events, and the initial triviality of the cricket match fades into the background. This is necessary to enjoy the film, because in fact the film has been reduced to a standard sports film about the underdog who has to take out the (morally) bad favorite.

A valid objection is that such a reaction from the spectator points to the irony and drama of the situation. For the British it is indeed a trivial game, but for the Indian villagers this game has major consequences. Gain can mean a regain of self-esteem, perhaps a modest revolution, and an end to hunger, while loss can mean death or starvation for some. Although ‘Lagaan’ is essentially a fairly conventional sports film, the added inspirational elements, as well as the swirling vocals and dance numbers, ensure that the film transcends this genre. Moreover, the fun of the film is mainly in the journey, and not in the destination (which is quite predictable).

And the journey is fun. The many players Bhuvan must collect all have their own strengths and weaknesses, or quirks. The prophet is wonderfully wacky, stealing the show whenever he’s on screen (whether it’s cricket-related or not). A jack turns out to have a good swing in his arm for pitching (or “bowling” as they call it in cricket). It’s hilarious to see him swinging his arm continuously in his unorthodox way before finally letting go of the ball. Especially the reaction of the British during the match is priceless. What is brilliant inclusion, and a bold critique of the Indian caste system, is the presence in the team of an “untouchable”, a pariah. Due to his handicapped arm, the man in question can give the ball a special spin. Only the team threatens to resign because no one wants to work with him. Whereupon Bhuvan gives an emotional and effective speech about the hypocrisy and injustice of this Indian system. The participation of this player also provides some moving moments later, during the real match.

The acting is excellent and where necessary realistic, with a wink, or sometimes wonderfully thick (as in the case of the archetypal villain role of Russell [Hawthorne]). Bhuvan is captivatingly portrayed by the subtly acting “hunk” Aamir Khan. The central romantic story is also very catchy. The first scenes between Ghauri and Bhuvan immediately convince the viewer of their history and feelings. Gracy Singh and Khan definitely have “chemistry” with each other, and the way Bhuvan teases Ghauri from time to time comes across as very natural. Singh is a charming presence, although her nervous facial features are a bit much. What’s also important: she can dance like the best. The musical intermezzos are all wonderful songs (with the only “alienating” element being the performance of the English singing Elizabeth in one of the songs) that are very well choreographed, and also fit perfectly into the story itself. The song about the love between Hindu god Krishna and his Radha, which draws parallels with the situation of Bhuvan and Ghauri, is surely one of the highlights of the film. In fact, the romantic story is actually at least as captivating as the cricket match.

It is a pity that not one, but two love triangles are added. The first is caused by Russell’s British sister Katherine (Rachel Shelley), who teaches Bhuvan the game of cricket (against her brother’s wishes) and falls in love with him, and the second by a fellow villager of Bhuvan’s, who has a crush on on gauri. Both subplots, one of which is an excuse for a dramatic turn during the cricket match, are insufficiently developed and/or motivated. It’s also a shame that the climax of the film, the cricket match, lasts about an hour and a half, is a bit too long. It’s certainly excitingly portrayed, but giving each teammate their own personal drama during the match piles climax upon climax. Moreover, the game of cricket is never properly explained, and sometimes it is not quite clear whether we should cheer or not. However, the multiple treatment of individual players also has an advantage. It’s now more and more about the characters and their personal (and collective) victories. For them there is a lot at stake, and every good ball is cause for celebration by the (Indian) public, which is heartwarming to see.

Despite the objections mentioned, the film has turned out to be a very special production that inspires, moves and entertains. Good acting, colorful characters, relevant themes and criticism, and catchy songs make ‘Lagaan’ a wonderful film.