Written By: Siddhartha Krishnan | 4 Min Read

When you think of the great war films of the past, you remember their sheer technical power: the sweeping cinematography, the visceral action, the stirring background score, the meticulous production design, the prosthetics and of course the performances. Yet beneath all that craft, those films endured because they moved you. A war film cannot afford to falter there.

That is why 120 Bahadur, a film about one of the Indian Army’s greatest battles, feels incomplete. Its heart is in the right place, but it needed a sharper mind to match the intelligence and spirit of its own protagonist.

Critics have largely called out the first half for being slow and occasionally dull. The common verdict is that the film takes too long to warm up before it starts landing its punches. That may be true, but for me the issue ran deeper. Something felt missing throughout, even when the second half gathers momentum. And that missing piece was emotional force. The makers seemed to play it too safe when the story needed a touch of madness, especially in the latter half where the stakes demanded bolder choices.

The story of the Battle of Rezang La is the stuff of legend. It is so astonishing that one could easily mistake it for fiction. Having recently visited the Rezang La War Memorial in Ladakh, standing on the very land where the 120 brave soldiers of the 13 Kumaon Regiment’s Charlie Company (almost all from the Ahir community in Haryana) were cremated after facing a 3000 strong Chinese force with outdated ammunition, the enormity of their sacrifice still feels impossible to grasp. They fought till the last man, taking down nearly 1300 enemy soldiers before falling. None of the bodies were found with a bullet to their back. It sounds unreal, yet it happened.

Though this story is well known within the Army, it is tragically unfamiliar to most citizens. And in that sense, I understand the instinct to sanitise the violence so the film can reach a wider audience. On that front, the film succeeds. It is technically strong, shot on real locations, with a powerful story, a capable ensemble cast and in Major Shaitan Singh Bhati a protagonist who stands taller than a hero, almost mythic.

But this was a story that demanded the brutality of war to be shown. It was an essential part of the narrative, unlike many recent Hindi films where violence is used merely as a stylistic choice. If the film had focused solely on camaraderie, bravery and sacrifice, the restraint would have worked. But with an entire second half devoted to the battle, the raw, unforgiving truth of war was needed for the script to fully come alive.

Another criticism the film faced was its restrained performances. I felt this was not a flaw but a conscious and sensible choice by the makers. Imagine a group of soldiers at sixteen thousand feet, in minus twenty four degree cold, conserving every last ounce of energy during a battle that stretches through the night. Shouting stirring lines in such conditions is not only improbable, it breaks authenticity. In choosing restraint, the makers chose truth, and it was the right call.

Where the film does falter is in its dialogue. While avoiding loud, jingoistic monologues was the correct direction, the lines still needed to carry weight, to leave you with the lingering ache that a war film should. They fall short of that. Even the constant humour does not fully land.

Farhan Akhtar, as Major Shaitan Singh, is another important anchor in the film. His performance is balanced and mature, yet there is a sense of something missing. The issue again lies in the screenplay, which does not create enough intrigue or deliver the emotional shocks the story deserves. This is a true event, one that can be easily looked up online. The power, therefore, had to come from how the story was told. Instead, the makers chose a conventional, familiar template seen in films like Border, Shershaah and LOC Kargil.

This story needed a treatment closer to Saving Private Ryan, where the war itself becomes a visceral and shattering experience. A more immersive and relentless portrayal could have left the audience shaken. But the film takes a simpler and more straightforward route, and the impact is not as deep as it could have been.

To conclude, 120 Bahadur is not a bad film by any measure. It approaches one of the Indian Army’s greatest battles with sincerity. But the creative decisions, especially in the screenplay, keep it from reaching the heights it was capable of. Despite its shortcomings, I would still urge audiences to watch it. It is a story of exceptional courage, sacrifice and the true cost of war, one every Indian should know.

Verdict:
IMDb rating: 7/10
My rating: 3/5

Pic Credits: Excel Entertainment

***

About the author:

Siddhartha Krishnan is the author of ‘Two and a Half Rainbows – A Collection of Short Stories’. An enthusiastic blogger he shares his essays, travelogues, book and movie reviews on his blog (www.whatsonsidsmind.com).