FILM REVIEW: 120 BAHADUR

A powerful true story trapped inside an average film 120 Bahadur lacks the emotional fire it deserved. - SUYASH PACHAURI

One Liner:

A historically significant and heroic tale of IN unmatched bravery hampered by a sluggish screenplay and a directorial failure to ignite genuine patriotic fervor.

A Brave Story, An Average Film

120 Bahadur arrives with the weight of extraordinary history on its shoulders. Billed as a tribute to the legendary Battle of Rezang La during the 1962 Sino Indian War, the film attempts to immortalise the valour of 120 Indian soldiers who faced down a formidable and vastly superior Chinese army at a treacherous mountain pass. The story itself is a powerful, ready-made epic a tale of sacrifice and national pride that should, by all accounts, be a cinematic knockout. Unfortunately, while the narrative subject matter demands a standing ovation, the resulting film, as a piece of cinema, only manages to scrape by as decidedly average.

The film centres on the events leading up to, during, and immediately following the ferocious battle for the Rezang La pass, a strategically vital location in India. When the Chinese army launched its offensive to capture this mountain pass, it was met not by a battalion, but by a meagre company of 120 Indian soldiers. The core of the film is meant to showcase how these heroes these 120 Bahadur (brave men) drove back the massive invading force, offering a response that was both devastating and unforgettable. The premise guarantees high drama, immense patriotism, and deep emotional resonance. Where the film falters is in its execution, particularly in the crucial stage setting of its first half.

The Sluggish Screenplay and the Flaw in Direction

The story and screenplay:

Rajiv G. Menon, are, at best, described as "good, not extraordinary." This is the first critical wound the film inflicts upon itself. A war film of this magnitude requires a taut, compelling, and emotionally manipulative screenplay to do justice to the subject matter. However, the first half is criticised for being "very boring, very slow moving." The initial narrative pace is glacial, failing to build the necessary tension, character connections, or context that would make the subsequent action sequences meaningful. Instead of drawing the audience into the lives and minds of the 120 men showing us the bonds, the fears, and the motivations it meanders, resulting in a disconnected and tedious setup.

It is only in the latter half that the film manages to find its footing.

The pace picks up, and the screenplay finally introduces some much-needed emotional depth. This momentum builds towards what is ultimately recognised as a very nice and genuinely shocking climax. Yet, the overall impression is one of too little, too late. The early narrative drag damages the film beyond repair, rendering the heroic climax less impactful than it should have been.

Perhaps the most glaring critique lies with the direction by Rajnish Raji Ghai. The video review suggests that the direction fails to leverage the intrinsic emotional power of the story. A film about such sacrificial patriotism desperately needed a directorial hand that could make the audience "cry" and awaken the nationalistic spirit. The film's inability to evoke these powerful, necessary emotions in the audience is cited as a significant shortcoming. A true epic demands both technical skill and emotional conviction from its director; in 120 Bahadur, that conviction seems muted, leaving the potential for high-octane patriotism largely untapped.

Performances: Good, Not Extraordinary

The acting talent assembled for 120 Bahadur performs adequately, but like the film itself, falls short of extraordinary.

Farhan Akhtar, taking on the central role of Major Shaitan Singh Bhati, is noted as "good, not extraordinary." This is a character based on a legendary real-life figure a role that demands intensity, gravitas, and unflinching leadership. Akhtar brings a level of competence to the performance, embodying the bravery of the Major, but the performance lacks the commanding, award-worthy impact that such a heroic portrayal requires. It is a solid, respectable effort, but one that fails to elevate the character to the mythical status he deserves.

Raashii Khanna, in the role of the Major's wife, manages to lend "grace to her role." Her presence provides the emotional anchor, representing the families and the heartbreak that accompanies war, a necessary counterpoint to the battlefield action. Among the supporting cast, Sparsh Walia, playing the radio operator Ramchandra Yadav, "definitely stands his own," suggesting a standout, memorable performance despite a potentially smaller role. Ejaz Khan is also praised as "very good." Ajinkya Ramesh Dev and Vivan Bhathena, along with the rest of the ensemble, are noted for having done a "decent job," which further reinforces the film's overall critique: competent efforts across the board, but a lack of truly exceptional, compelling performances that could compensate for the screenplay's weaknesses.

Technical Report: Hits and Misses

In terms of technical execution, the film presents a mixed bag, with some departments shining while others disappoint.

The best aspects of 120 Bahadur are undoubtedly found in its visual and physical choreography. The cinematography is judged as "very good," suggesting a film that is visually arresting, likely capturing the harsh, stunning, and unforgiving landscape of the mountainous war zone effectively. Similarly, the action sequences are "well choreographed," ensuring that the battle moments, when they finally arrive in the second half, are impactful and believable. This attention to visual and kinetic detail is what provides the film with its best moments.

However, the positive technical elements are undermined by significant flaws in other critical areas. The dialogues, written by Sumit Arora, are deemed too pedestrian for a film of this stature. They "needed to be better" and are criticized for not being "punch-packed, applause-worthy, or whistle-worthy." In the genre of war and patriotic cinema, impactful dialogue is often the backbone, providing memorable rallying cries and emotional weight, a factor sorely missing here.

The music is another major letdown. Despite having big names like Amit Trivedi, Salim-Sulaiman, and Amjad-Nadeem Aamir contributing, the music is a significant "drawback." The review notes that "not a single song is a hit." While the lyrics by Javed Akhtar are complimented as good, the overall failure of the musical score to provide a memorable or stirring soundtrack is a major detriment to a film requiring powerful, rousing melodies.

Finally, the editing, handled by Rameshwar S. Bhagat, "should have been sharper/crisper." This confirms the earlier criticism of the film's slow pace; better editing might have been able to mitigate the sluggish first half and tighten the narrative structure, giving the film a much-needed urgency and flow.

The Final Verdict

120 Bahadur is a film that operates on a foundation of extraordinary, heart-swelling history, yet fails to translate that legacy into truly compelling cinema. The heroic story of Major Shaitan Singh Bhati and his men at Rezang La deserved a masterpiece. Instead, we receive a "very average film."

The verdict is sealed by the weak first half, which prevents the film from building the necessary emotional foundation, coupled with direction that missed the opportunity to fully awaken the patriotic sentiment inherent in the plot. While the cinematography, action, and a shocking climax save it from being a complete disappointment, these scattered successes cannot rescue the overall narrative experience.

In summation, the film is a technically sound but emotionally diluted recount of an incredible chapter in India’s military history. Given the average quality and significant narrative issues, particularly in the first half, the commercial outlook for 120 Bahadur is dim, and it is "not expected to perform well commercially." The film remains a respectable but ultimately underwhelming tribute to 120 genuine heroes.