Sankalp Reddy’s Ghazi (‘The Ghazi Attack’ in Hindi) opens with a weird disclaimer. Almost like a mutual funds television commercial, even the narrator sounds exhausted by the minute-long message. We cannot really blame anyone, considering co-producer Karan Johar has not had a smooth run with nationalists of late. Speaking of nationalism and related emotions, Ghazi is about an undersea Indo-Pak war in 1971. The premise is fresh and therefore a surefire sellout. So, does Ghazi rise above its “idea”? Gladly, it does.
The film opens pleasantly with the familiar Bachchan baritone, setting the context for what is to come. We are then greeted by seasoned performers like the late Om Puri and Nasser, who dominate the screen for a while. Following a conventional narrative pattern, we are also shown Pakistani militants and their plans. Introduced alongside them are the officers boarding India’s submarine for an immediate operation. The writer creates such obvious character sketches that one could doze off for a good thirty minutes and still not miss much.
There is, however, something compelling about untold stories, especially those set in unseen spaces. Indian audiences may know what a submarine is, but not the technicalities of how one functioned in the 1970s during wartime. Vividly shot and visualised, it is the submarine that intrigues more than the scenario itself. Unprepared for the amount of technique involved, we struggle to grasp the workings of this massive underwater machine. As a story, Ghazi offers little that is new. It is simply the medium of conflict that feels different and largely unexplored.
The first half is devoid of surprises. Characters behave as expected and the film moves steadily toward its interval point. The second half picks up pace when officer Arjun Varma, played by Rana Daggubati, takes charge. The drama is heightened, dialogues grow sharper, and patriotism is served in measured doses. In a screenplay that mildly resembles a rigorous video game, Ghazi delivers several spine-chilling moments. This momentum, however, comes to a halt in the pre-climax with the insertion of two patriotic songs, including the national anthem, as narrative tools. This may be easy bait for patriotic audiences, but it robs the film of a portion of its impact. The predictable heroic ending only adds to this dilution.
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The Pakistani antagonist, played by Rahul Singh, is a man of wit. Frustrated by the Indian submarine’s evasive movements, he quips, “Saala, officer hai ki liftman?” Later, tired of hiding, he mutters, “Lukka chuppi bahut ho gayi,” drawing smirks from younger viewers. In a way, these commercial touches work, or else the film might have felt like a dry documentary. Director Reddy avoids excessive experimentation, perhaps due to constraints, and that is not necessarily a drawback.
Performances are a major strength. Casting Rana Daggubati as the lead proves to be an excellent decision. With his imposing frame and stern demeanour, he shoulders the film with ease. Kay Kay Menon is reliable as ever, while Atul Kulkarni shines in a well-written role that makes us wish he had more screen time. Taapsee Pannu’s cameo, however, feels forced and raises the question of why the film could not have worked with an all-male cast.
Technically, Ghazi is an assured product. Madhi’s cinematography is world-class, and Sreekar Prasad’s editing deserves equal praise. The war sequences, in particular, reveal his strong command over rhythm and tension. K’s background score and the film’s sound design significantly enhance the viewing experience.
While Ghazi is not meant for lovers of purist cinema, its sincerity and scale work in its favour. The novel setting, committed performances, and confident execution make it one of the strongest commercial films in recent times.
Rating: ★★★½
Ghazi is now streaming on Amazon Prime.
