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Sushant Singh Rajput saves you while Drive drives you crazy

Drive, which released on Netflix last year, starred Sushant Singh Rajput and Jacqueline Fernandez in lead roles. It was directed by Tarun Mansukhani.

Starting from India Gate, crossing Chhatarpur to a third far-off location, a race is taking place at the heart of New Delhi, infamous for its perpetual traffic jams.

Gears are set in and zoom goes the drivers, covering this never-ending distance in the blink of an eye. Of course, our leading lady Jacqueline Fernandez wins this fictitious and fictional race, steps out of the car in a thigh-high slit skirt, high heels and a top with a plunging neckline to celebrate the moment. For a good two minutes, we see Jacqueline show off her smooth hair and curves, with the car as her prop in the background.

We get it. She is sexy, but director Tarun Mansukhani thinks his audience won’t understand the subtext. So, he has a side character spew it out for us, “Samajh nahi aata, tum zayada sexy ho ya tumhari driving.”

Drive starts on this unconvincing note and becomes more improbable thereafter. A gang of thieves, headed by Tara (Jacqueline), hatches a plan, engineered by Arjun (Sushant Singh Rajput), to rob black money stored in the Rashtrapati Bhavan.

To be honest, even if implausible, the plot feels fresh on paper. We have seen Danny Ocean chalk out convincing plans to rob a casino with his team of well-equipped thieves. Tarun takes things a bit further and decides to rob the President’s home. Sure, why not?

We thought maybe, just maybe, Tarun, who is also the writer of the film, has penned a believable, if not extraordinary, heist in Drive. We couldn’t be more wrong.

Drive goes off track right when the team starts planning the robbery. To enter the Rashtrapati Bhavan, they have to get permits from 64 departments, which they manage to get in 24 hours. And like a walk in the park, the team enters and exits Rashtrapati Bhavan multiple times before the robbery, without so much as being recognised.

And then there is a master thief named King in between, who leaves his mark and a clue to his next robbery, every time he steals from someone. The end result, a tasteless mix of Ocean’s Eleven and Dhoom 2.

What makes the film more bizarre is the CGI effects used in place of actual car racing. This makes the film look cheap and nothing more than a bad video game.

In between all this ruckus, we see Sushant Singh Rajput as a glimmer of hope. In the film, he is excited to pull off the biggest heist of the country, as he flashes that million-dollar smile for his audience.

The scene where he calls a policeman and tricks him into abandoning his car makes us laugh-out-loud. Not minding the senselessness of the film, Sushant lets us know he is having fun and he wants us to do the same.

Before Drive, Sushant proved his mettle with remarkable performances in films like MS Dhoni: The Untold Story, Kai Po Che, Detective Byomkesh Bakshy, Shuddh Desi Romance and more. Drive doesn’t even come close to Sushant’s other films. The actor, however, didn’t let that show in his performance in this Dharma Productions film. He played his part with much conviction and enthusiasm and gave his fans one more film to cherish.

Unfortunately, Drive was Sushant’s last film (Chhichhore released before Drive and is his last theatre release) before he breathed his last on June 14. His next, Dil Bechara, is yet to hit the screens. We have another chance to see this untamed actor come alive on screen, just one more time.

Gulabo Sitabo writer Juhi Chaturvedi accused of plagiarism, makers call allegation baseless

Late writer Rajeev Agarwal’s son, Akira, has accused Juhi Chaturvedi of plagiarising his father’s story for Gulabo Sitabo. The makers released a statement defending Juhi.

Writer Juhi Chaturvedi has been accused by late writer Rajeev Agarwal’s son, Akira, of plagiarising his father’s story for her upcoming film Gulabo Sitabo, a claim the production house behind the project termed “baseless.”

Juhi has written the story, screenplay and dialogues for the Shoojit Sircar directorial, featuring megastar Amitabh Bachchan and actor Ayushmann Khurrana. It is backed by Rising Sun Films.

Rajeev had submitted his story in Cinestaan India’s Storyteller Script Contest, of which Juhi was a jury member, claimed Akira’s lawyer Rizwan Siddiquee.

The story was submitted in March 2018 and shortlisted. On June 28 the same year, the final script was also submitted for the contest and all jury members had full access to the same, said Siddiquee.

According to the lawyer, Akira was shocked to find similarities between Gulabo Sitabo and his father’s story when he saw the trailer of the film. He claimed the story, background and theme of the movie looked similar to his father’s script.

In a statement issued on Saturday, Rising Sun Films said Juhi’s concept for Gulabo Sitabo was registered in 2018, much before the contest.

“Furthermore, Juhi never received a copy of the supposedly copied script. This has been independently confirmed by the script writing contest organisers as well.

“Our film’s story is different from that sent out in the notice. It is surprising how grave allegations are being made solely on the basis of a 2 minute 41 second trailer,” the banner said in the statement.

Siddiquee said Akira approached Screenwriters Association (SWA) for mediation, which then asked Juhi to submit her script.

Kartik Aaryan thanks Imtiaz Ali for Love Aaj Kal

Kartik Aaryan, in a long Instagram note, took us through his journey as an actor to finally landing Imtiaz Ali’s Love Aaj Kal.

Kartik Aaryan, who made his debut in Pyaar Ka Punchnama in 2011, has come a long way in his career. He was last seen in Imtiaz Ali’s new Love Aaj Kal as both Veer (from 2020) and Raghu (from 1990). The film hit the screens on Valentine’s Day, February 14.

As Love Aaj Kal recently made its way to Netflix, Kartik took to Instagram to share two throwback photos looking back at his association with Imtiaz. One of the photos is a still from Love Aaj Kal, while the other shows the actor-director jodi on the sets of the film.

Along with the pictures, Kartik penned a heartfelt note thanking Imtiaz for choosing him for the film. Kartik also spoke about his journey in Bollywood – from dreaming about being an actor to bagging his first movie and then finally getting Imtiaz Ali’s film – in the caption.

When you first dream of being in films, you act in front of the mirror and nail it every time, and the world of movies seems magical. Then you get a movie. You see the camera and are unnerved. It’s bigger than the suitcase you brought to Mumbai. The bright lights seem to be scolding you for not landing on a one-inch tape mark and wasting everyone’s time. The first few years become about trying not to look nervous (sic),” Kartik wrote in his caption.

“Then you get an Imtiaz Ali movie. The moment he narrates the story, you are pulled into a dream. I don’t even remember seeing the camera on his set, he‘d always be standing wherever I looked after cut. He was never at the monitor, he was by my side. The lights on Imtiaz Ali’s set help you find those tape marks (sic),” the actor added.

“I have never experienced the kind of love and appreciation I have got for my performance in Love Aaj Kal, and that too from some of my favourite filmmakers and people I most respect in the industry. How ironic that the making of this film felt most effortless! It would scare me to think of doing two characters in one movie. And here, I didn’t even realise how smoothly I was being transitioned between #Veer and #Raghu (sic),” his post reads further.

Kartik goes on to say, “For an actor, there is no better environment than being In front of that mirror. Imtiaz Ali takes you there. This is the reason why so many great actors’ greatest performances have been in Imtiaz Ali films. Imtiaz Ali director nahi hain, jadugar gain! Thank you sir for giving me the best performance of my career yet (sic).”

Imtiaz Ali director nahin hain jadugar hain – and how we agree with Kartik on this!

Earlier in 2019, after concluding the shoot of Love Aaj Kal, Kartik had shared his experience of working with Imtiaz Ali. The actor had said that his thought process has changed a lot after collaborating with Imtiaz for the movie.

“I am excited about Imtiaz Ali’s next because I’m in love with Imtiaz sir. He has changed my thought process a lot. I think I’m a changed man now. There has been a huge change in me since I’ve shot for his film,” Kartik told PTI back then.

Apart from Kartik and Arushi, Love Aaj Kal also starred Sara Ali Khan in the main role. Sara was cast as Zoe opposite Kartik’s Veer. The film was a sequel to Imtiaz’s 2009 Love Aaj Kal which starred Saif Ali Khan and Deepika Padukone as leads.

Salman Khan promotes Lara Dutta’s web series Hundred, actress says Love You Partner

Salman Khan, who worked with Lara Dutta in Partner in 2007, promoted her upcoming web series Hundred on social media.

Do Khiladi Problem Bhaari!” says the tagline of Lara Dutta’s first web series, titled Hundred. Lara is making her digital debut with the upcoming show and this is the first time in her career that she is playing the role of a police officer. Hundred will starts streaming on Disney+Hotstar VIP from April 25.

While the actress is actively updating her fans about the web series on social media, she has her “Partner” Salman Khan right beside her through the promotions.

Salman, who shared screen space with Lara in the 2007-released Partner, has come forward to promote her web series Hundred on social media. In his post, the 54-year-old actor called his former co-star his “favourite heroine” and urged fans to watch the series.

The 42-year-old actress then took to her Instagram handle and reposted Salman’s post to express gratitude. Overwhelmed, Lara mentioned Salman in her caption as “coolest cop on screen” referring to Chulbul Pandey, his character in the Dabangg franchise.

Lara Dutta is essaying the role of ACP Saumya Shukla in Hundred. She has been cast opposite Marathi actress Rinku Rajguru, who is best known for her film, Sairat. Rinku is cast as Netra Patil.

Lara has been sharing pictures of her cop avatar on her Instagram handle.

Not just Lara, but Rinku is also making her digital debut with the upcoming web series. The trailer of Hundred was released on April 22 and it is an eight-episode series. The web series is co-directed by Ruchi Narain, Ashutosh Shah and Taher Shabbir.

Karan Wahi, Rajeev Siddhartha, Sudhanshu Pandey, Parmeet Sethi, Rohini Hattangadi, Arun Nalawde and Makarand Deshpande play pivotal roles in it.

Even if it is to promote Hundred, we’re glad we got to revisit Salman and Lara’s partnership, 13 years after the release of Partner. The film also starred Govinda and Katrina Kaif.

 

Why Ok Jaanu is not okay

Count how many times Shraddha Kapoor says Ok Jaanu. That is the only point of interest in this unnecessary love story.

Time and again, Bollywood gives us that one film which wasn’t needed at all. And just like that, in January 2017, Ok Jaanu released. Directed by Shaad Ali of Bunty Aur Babli fame, the film can be best described as a love story nobody cares about. If you have watched this ‘masterpiece’, we pity you. And if you haven’t, we envy you. On the glorious occasion of Wahiyat Wednesday, let us take a look at why the film was just not ok. Or needed.

Ok Jaanu is a remake of the Tamil film Ok Kanmani (O Kadhal Kanmani). Directed by Mani Ratnam, the 2015 film stars Dulquer Salmaan and Nithya Menen in the lead role and completes five years of release tomorrow. It was lauded for its refreshing vibe and the lead actors’ chemistry. However, the Bollywood remake fell flat on expectations and came across as unnecessary. The first question that comes to mind when we think of Ok Jaanu is what was the need of a remake just two years after the release of the original?

But then, Bollywood’s obsession with remakes isn’t new. Films like Bodyguard, Khatta Meetha, Force, Wanted and Kabir Singh didn’t really offer us much, but exist. And then, how can we forget the trend of rehashing and destroying cult-classic numbers. While Masakali 2.0 has been accused of destroying the original, the Humma Humma remake in Ok Jaanu didn’t do wonders either.

Coming to the story, the concept of live-in relationships was new for the Tamil audience in 2015. Hence, Ok Kanmani was a success as it focused on a topic that was considered to be a taboo. However, things are different when it comes to the Bollywood audience of 2017. We have had ample films where the concept of live-in relationships is explored. For example, Saif Ali Khan and Preity Zinta’s Salaam Namaste (2005), Arjun Kapoor and Alia Bhatt’s Two States (2014), and Sushant Singh Rajput and Parineeti Chopra’s Shuddh Desi Romance (2013), to name a few.

Still, we could have tolerated Ok Jaanu if there was something to look forward to. The lead actors’ performances, maybe? But the film fails even there. For Instance, even when Tara (Shraddha Kapoor) talks about her estranged father, we hardly feel anything. Credit goes to Shraddha Kapoor here. Only if the actress could deliver that dialogue with a bit more intensity and change her expressions from time to time. And Aditya, well, we wish there was something more to cherish apart from the fact that he looked handsome throughout.

Coming to their chemistry, fans expected that the Aashiqui 2 on-screen lovers would be flawless together. But sparks couldn’t be seen on the silver screen. Not even with the overuse of the word ‘Jaanu’ and the forced ‘romantic’ moments.

In fact, there are ample times where we ask ourselves, what are we watching, and why?

There are various other elements that can certify Ok Jaanu to be just another typical Bollywood love story.

Time for a list:

  • Girl and guy meeting at a wedding.
  • Hero and heroine exploring the city on a bike.
  • The lead characters forced to choose between career and love.
  • A classic train scene where love blossoms.
  • Rain. Rain. And more rain.
  • A stalker boyfriend.
  • Dialogues like “Doobne ke liye tumhari aankhein bohot hain.”
  • A cult-classic song destroyed by the remake (Humma Humma in this case).

We could go on and on. But let’s just leave it at that. We don’t want to stretch this piece quite like the film was.

Another problem with Ok Jaanu is that it feels regressive at times. In the year 2017, you don’t expect the lead actress to say things like ‘Itni raat ko koi shareef ladki phone nahi karti kisi ladke ko’ or acting aloof as the guy pursues her. Women today are headstrong and don’t shy away when it comes to love. And it isn’t a big deal if a woman takes the first step in a relationship. But Tara is nothing like that. She initially acts pricey when Adi approaches her and often wonders ‘Ye jo hum kar rahe hain ye sahi hai na?’ Yep, roll your eyes. We don’t blame you.

An interesting fact is that both Ok Jaanu and Ok Kanmani are available on Amazon Prime. Between the two, save yourself the unnecessary headache and watch the original.

Paresh Rawal’s son Aditya on Anurag Kashyap’s Bamfaad: Glad to be part of the thrilling film

Veteran actor Paresh Rawal’s son Aditya is set to make his acting debut with ZEE5 original film Bamfaad. The movie, directed by debutant filmmaker Ranjan Chandel, will also mark the digital debut of Arjun Reddy star Shalini Pandey.

According to the official logline, the Hindi film, based in Allahabad, is set in a romantic volatile backdrop which will bring out an unusual yet raw and edgy love story on the screen.

Aditya, who is playing the male lead Nasir Jamal, said he is happy that he got the chance to enter the film industry with such a thrilling story.

“I am glad that I got the chance to be a part of such a thrilling film. Though the driving force of the film is the love story, it has many more layers to it. I want to make my own mark as an actor in the industry, and it feels great to begin my journey by playing Nasir Jamal, a character that fascinated me ever since I read the script,” the newcomer said in a statement.

I hope that people watch the film in huge numbers on Zee5, and I am eager to hear their feedback,” he added.

Shalini described her character Neelam as bold and strong but said it was her vulnerability that resonated with her strongly.

“As an artist, I look forward to projects that challenge me and this project really pushed me and I learned a lot while playing this part. Bamfaad has a phenomenal storyline and it is getting the perfect exposure with a massive video streaming platform like ZEE5,” she said.

Bamfaad is presented by Anurag Kashyap, who shared the film’s poster on his Instagram account.

“Jahaan dil lagaana nahin asaan wahan aashiqi hogi bamfaad! Introducing Aditya Rawal as Nasir Jamal and Shalini Pandey as Neelam, directed by Ranjan Chandel. Premieres 10th April on @zee5premium#ZEE5Original (sic),” Anurag wrote in the caption.

Coronavirus: Salman Khan’s Radhe likely to be postponed

Salman Khan-starrer Radhe, which was slated to release on May 22, is likely to get postponed due to the novel coronavirus outbreak.

The release of Radhe: Your Most Wanted Bhai, featuring Bollywood superstar Salman Khan, is most likely to be delayed due to the coronavirus pandemic.

The film, which reunites Salman with his Bharat co-star Disha Patani, was scheduled to hit the screens on May 22.

This will be for the first time in over a decade that ardent Salman fans will not see a release on Eid, a festival date which has been synonymous with the actor.

Salman started shooting for Radhe last November.

However, due to the shutdown on all television and film production work due to the outbreak, the last leg of filming is yet to be complete.

“Radhe will be pushed ahead for sure. We have got two songs to shoot, there is some patch work left of about five days or so, we also have editing that is left. We don’t know when the situation will be normal and when we can shoot and finish our pending work,” a source close to the production told PTI.

Most of Salman’s Eid releases have turned out to be blockbusters such as Wanted (2009), Dabangg (2010), Bodyguard (2011), Ek Tha Tiger (2012), Kick (2014), Bajrangi Bhaijaan (2015), Sultan (2016) and Bharat (2019), barring Tubelight (2017) and Race 3 (2018).

The insider further said as people might be sceptical about watching a movie in a theatre due to the COVID-19 scare, it would be unfair to release a film in such times.

“We are in the same boat as other big films that were scheduled to release. We are going into May soon, the film was to release on Eid, which is May 22. It is not that the virus will be eradicated completely within a few days or months. Who will want to go to theatres during such times? The fear of not venturing out of homes and going to theatres to enjoy a film is a lot more and we all will have to deal with it and overcome it,” the source added.

Radhe is directed by Prabhudheva and the film is the third collaboration between Salman and the director after Wanted and last year’s Dabangg 3.

The action film also features Randeep Hooda and Jackie Shroff in key roles.

It is produced by Sohail Khan and Reel Life Production Pvt Limited under the banner of Salman Khan Films.

Besides Radhe, Salman was also set to present a film titled Bulbul Marriage Hall featuring Pulkit Samrat in the lead.

The film was scheduled to go on floors from April 16, but the makers have decided to halt the production till further notice.

Salman Khan will always be our Sooryavanshi. Not Akshay Kumar

Akshay Kumar may be taking over Rohit Shetty’s cop universe soon with Sooryavanshi, but he is no match for the blonde-haired He-Man-looking Salman Khan, the original Suryavanshi.

Even with an inexhaustible collection of national and international shows and movies at our perusal, we found ourselves reaching for ‘Suryavanshi Salman Khan’ in the search bar – Salman’s was with a ‘U’ and not ‘OO’. Self-isolation and lockdown can affect you psychologically.

Salman Khan’s Suryavanshi (1992), co-starring a Rekha-inspired Amrita Singh and an expressionless I’d-rather-not-be-here-but-I-have-to-looking Sheeba, is essentially a story of punarjanam, a one-night stand Bollywood keeps repeating even though the morning after results in a walk of shame. Suryavanshi, not to be confused with Sooryavansham, the Amitabh Bachchan-starrer, was once a Set Max favourite, and therefore, many a childhood afternoon were spent watching and re-watching Salman Khan’s blonde hair glisten in the sun, or staring at his He-Man outfit.

The film had potential simply by virtue of an interesting story but was ruined because it failed to manage that story. We have an extremely strong, hotheaded woman, Amrita, as Rajkumari Suryalekha at the centre. She’s complemented by an equally strong, borderline douchebag Salman as Suryavanshi Vikram Singh (we’ll come to why we used these adjectives in a bit). These are characters of the past. In the present day, Vikram Singh is reincarnated as Vicky but he is completely unaware of any pichhle janam ki baatein. Born and raised in America, he lands in India for the first time, and thanks to his overenthusiastic dad JB (Saeed Jaffrey) and his friend DD (Ajit Vachani), almost lands straight into shaadi ka mandap. Sheeba as Sonia is the would-be bahu – a girl so perfect that Tulsi Virani would be jealous. He doesn’t want to get married, he wants to live his life, she is heartbroken, but destiny in the form of guilt – ki main apne papa ka dil nahi dukha sakta – binds them in matrimony.

DD is an archaeologist and is digging around the ruins of Sangramgarh, intrigued by an entire kingdom now completely buried underground, quite like Atlantis. The newlyweds and their respective fathers decide to check it out firsthand as the excavation continues. Somethings happen in the middle and they discover an old journal by Sangramgarh’s Rajguru and finally decode what went down.

The 2-hour-47-minute film has tones of bad make-up and hair and overacting, but we’re not getting into that. What stands out as particularly wahiyat, is the treatment of Suryalekha. She only asked for not to be forced into marriage for the sake of the rajvansh, until she found her match. If the process of mortal combat in swamvar seemed barbaric, all of world history should. Nonetheless, she found one in Suryavanshi, but our hero here simply wanted to show Suryalekha her place – something that could only be achieved by tricking her into a one-night stand, and leaving her ‘kalankit’. Serves you right, woman, this is a man’s world, after all.

Everything else that followed thereon, is a post-#MeToo world’s nightmare. From Suryalekha killing herself and coming back to haunt the whole kingdom (umm, not the haunting bit, of course) to Sonia shielding Vicky aka Vikram (yes, he remembers now) with her love and defeating the ‘evil other woman’, everything from the mid-point mark to the climax needed a hard swallow.

We’re not going to reveal the ending. If you do have the time – and by that, we mean at least three hours to spare from managing office and house chores – the original Suryavanshi is available on Hotstar. All things said and done, Bhaijaan is Bhaijaan, and Khiladi Kumar is no match. Sorry.

Singham to Sooryavanshi, cop films now are more than just catching the bad guy

What can be more masaledaar than a police wala gunda? The answer is, a police wala gunda standing up for a social cause.

there’s one thing that sets Bollywood apart from the rest, it is the masala factor. And what can be more masaledaar than a police wala gunda? The answer is, a police wala gunda standing up for a social cause.

Salman Khan-starrer Dabangg (2010) was an out and out entertainer. The film is known for its comedy, entertainment value and of course, songs. With those black Ray-Ban aviators and quirky dialogues, the masaledaar cop Chulbul Pandey did make us laugh. But he failed to make us think.

Then came Ajay Devgn playing the role of Bajirao Singham in Singham (2011). An honest cop, prioritising his duty above everything. The film had ample masala with cars blowing up in the air, catchy songs, glass windows shattering, fighting sequences and what not! But, at the heart of it was a message – any fight can be won by standing up together. In Singham, Bajirao united his police force against a corrupt politician and ensured that justice is served. “Hum police wale chahe na toh koi mandir ke bahar se ek chappal tak nahi chura sakta,” he says, echoing that the police has enough resources to act against those who dare to defy the law, all they need is unity.

Similarly, in the sequel, Singham Returns (2014), there is Baba Satyaraj Chandra, who brainwashes the public and gets away with heinous crimes such as rape and murder. All because he is being shielded by politician Prakash Rao and the blind faith of his followers. “Aam aadmi ki takleef dar paida karti hain, aur dar andhvishwaas ko aur andhvishwaas mujhe,” he says proudly.

Bajirao Singham, once again, unites the entire police force against the two and puts them behind bars. Apart from this, Singham Returns also focuses on the need of young people in politics. This is shown by Guruji (Anupam Kher) wanting to include more and more young people in his party. In a scene, Bajirao Singham says to some young men, “Garam khoon hai? Toh iska sahi jagah istamaal kyon nahi karte. Jaise hum duty karte hain, tum logo ki bhi kuch duties hain. Chhor raha hoon, kyunki jail ko nahi, is desh ko tumhari zaroorat hai.” On the surface, this is just a dialogue, but the message it delivers is self-explanatory.

Another thing that Singham and Singham Returns compel us to think about is how often we weave the entire story with half-information and call it the truth. In Singham, an honest police officer is blamed for taking a bribe, to the extent that he commits suicide out of shame. In Singham Returns, constable Mahesh is also believed to be the same when his dead body is found with a vehicle full of cash. The truth turns out to be way different in both cases.

Rohit Shetty’s third cop film, Simmba (2018), is different from the earlier two. Here we have a cop, Sangram Bhalerao (Ranveer Singh), who only took up the job to extort money and enjoy the ‘perks’ of being a policeman. It is only after a tragedy that he changes his ways and fights for justice. His transformation mirrors the sad reality that until something terrible happens to us or the ones we care about, we hardly bother doing something. And that this is wrong on so many levels and needs to change. We shouldn’t wait around for a tragedy to knock at our door to stand up for what is right.

Sardar Udham Singh: Vicky Kaushal film to release on January 15, 2021

The official handle of Rising Sun Films took to Twitter to announce that Vicky Kaushal’s upcoming film Sardar Udham Singh will now release on January 15 next year.

The release date of Vicky Kaushal’s biographical drama Sardar Udham Singh has been shifted to January 15, 2021, the producers of the film announced on Friday. The Shoojit Sircar film, which is being produced by Ronnie Lahiri and Sheel Kumar, was earlier slated to hit the big screens on October 2, 2020.

The production company of the film – Rising Sun Films – made an official announcement on Twitter.

“On March 13th 1940, #SardarUdham singlehandedly assassinated Michael O’ Dwyer in London to honour the lives lost at the Jallianwala Bagh massacre. His story deserves justice onscreen too. Starring Vicky Kaushal, we will now see you in cinemas on 15th January 2021!” tweeted Rising Sun Film Production.

Sardar Udham Singh is the cinematic portrayal of the life of freedom fighter of the same name. Sardar Udham Singh is known for assassinating former Lieutenant Governor of Punjab, Michael O’ Dwyer in 1940.

The assassination was intended to avenge the brutal Jallianwala Bagh massacre, which took place in Amritsar on April 13, 1919. Vicky Kaushal, who was last in Karan Johar’s horror drama Bhoot Part One: The Haunted Ship, will be seen as Sardar Udham Singh in Shoojit Sircar film.