EMERGENCY REVIEW: When Kangana Ranaut initially announced Emergency, she claimed that the film was not a biopic of Indira Gandhi, despite being centred around the tumultuous period when the Emergency was imposed in India (1975). However, after watching the movie, it’s hard to align with that claim.
The film begins with glimpses of Indira Gandhi’s childhood and spans her journey up to her tragic death, delving into her personal and political life. It portrays the challenges she faced in balancing the two while highlighting the complexities of her relationships with figures like her father, Jawaharlal Nehru, and her husband, Feroze Gandhi.
However, the narrative soon shifts to depict Gandhi as someone consumed by a hunger for power. Through Emergency, Kangana suggests that Gandhi’s obsession with control led to her downfall. The film portrays her as deeply insecure about her authority, to the point of being willing to go to any lengths to safeguard it. The oft-quoted “India is Indira, and Indira is India” is showcased as central to her psyche.
Kangana appears mindful of the potential controversies surrounding such a narrative. Strategically, the film inserts scenes that aim to counterbalance its critical tone. For instance, Gandhi is shown reflecting on her flaws in a mirror and choosing the word “woman” instead of a harsher critique, which feels like an attempt to dilute direct accusations. Similarly, moments highlighting her kindness are sprinkled in, seemingly to deflect potential backlash. Cleverly executed, but the intent is transparent.
Despite its title, Emergency only partially focuses on the 1975 imposition of emergency rule. The 2-hour-28-minute film ambitiously covers Indira Gandhi’s ascent to power, her political decisions, and ultimately her demise. It even ventures into events like Bhindranwale’s release for political gains and Operation Blue Star, leading to her assassination. This breadth, however, results in a scattered narrative, with no single incident receiving the depth it warrants. The screenplay feels unfocused, undermining the overall impact.
A pivotal aspect of the film is the dynamic between Indira Gandhi and her son, Sanjay Gandhi. He is depicted as the quintessential “spoiled son of a powerful family,” portrayed as the mastermind behind many of his mother’s controversial decisions. The film suggests that Sanjay was a driving force behind the excesses of the Emergency, including evictions and atrocities in Delhi. His disdain for Indians, seemingly influenced by Western ideologies, adds another layer to his character. Ultimately, Sanjay emerges as the primary antagonist in Kangana’s portrayal, overshadowing even Indira.
Sanjay Gandhi’s life, marriage to Maneka Gandhi, and untimely death in a plane crash are also explored in detail, leading one to question whether this is truly Indira’s story or more of Sanjay’s biopic in disguise.
While Emergency ambitiously spans multiple events, its structure leaves much to be desired. The first half feels stretched, while the post-interval portions seem rushed. Scenes like Gandhi’s self-comparison to an old devil feel distasteful and unnecessary.
What elevates the film is its casting. Kangana Ranaut’s portrayal of Indira Gandhi is nuanced and commendable. Her meticulous attention to Gandhi’s mannerisms and demeanour showcases her acting prowess, reaffirming why she’s regarded as one of the most talented actresses in the industry.
Vishak Nair’s portrayal of Sanjay Gandhi is equally noteworthy. A prominent figure in Malayalam cinema, Nair shines in his Bollywood debut, commanding significant screen time and delivering a compelling performance. Among the supporting cast, Anupam Kher as Jayaprakash Narayan, Shreyas Talpade as Atal Bihari Vajpayee, Mahima Chaudhry as Pupul Jayakar, Milind Soman as Field Marshal Sam Manekshaw, and Ashok Chhabra as Morarji Desai bring authenticity and charm to their roles.
Special mention must be made of Satish Kaushik, who plays Jagjivan Ram in what turned out to be his final film. Kaushik’s performance adds a layer of humour and humanity to the narrative, and Kangana’s decision to give him ample screen time is praiseworthy.
While Emergency is visually compelling, it doesn’t escape scrutiny for its historical liberties. Kangana takes creative license, presenting Gandhi’s imposition of the Emergency as an act driven by personal insecurity rather than political necessity. The film claims she wasn’t merely fighting for her position but waging war against India itself.
In conclusion, Emergency deserves to be watched for its performances and its ambitious attempt to tackle a complex chapter in India’s history. However, viewers are advised to approach the narrative with caution and cross-check historical claims before forming opinions.
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