Wagah – A Borderline Drama

I say the film is a ‘border’line drama only for the pun. The film is much lower than that; at least, the end product is, because what director Kumaravel has hoped to bring on screen is an interesting premise, but what we are shown is… you will know.

Firstly, what spurred my interest to catch the film was that it was about an Indian soldier’s love for a Pakistani girl, set in the tense and ‘priceless’ (the film says, and so it appears) Wagah border separating India and Pakistan. Well, a clichéd one-liner certainly, but the director had come carrying on his shoulder the critical acclaim of his maiden venture, Haridas, which I still haven’t seen, but believe is a good film.

Wagah starts with Vasu (Vikram Prabhu) in a Pakistani jail, beaten up to bleed all his blood for having tried to escape. He is a BSF Jawan who has gone missing at the border, and in the jail, we see hope in his eyes. Flashback. Vasu is not an ideal man. He is careless and fun-loving, and even disrespects the national flag in the school assembly… as his eyes were on the girl he is attracted to. When he grows up, he wants to join the Indian Army just so that he could drink cold beer at a discounted price while rolling on Kashmiri ice with no dress (all his words).

God save our country, he is inducted into the training program, and after a few weeks, is given what I think is an AK-47, and posted at the border. Just after two days, he loses interest in his job and goes mad owing to the solitude of the ice-capped mountains and lush green ground. Right when he totally loses interest in his life he accidently meets Kanum (Ranya Roy), and falls in love with her. From this point, the only thing that makes him stay in his job is his love for that girl and his frequent evening trips to the nearby village where she stays. A great premise indeed! What the director could have done to further the story… How he could have taken the character arc of Vasu… There is so much potential, so many interesting internal and external conflicts to explore, but sadly, and sometimes frustratingly, the film wants to be as careless as its lead character.

There is very poor writing for the heroine. We know her true story only at the interval point. So much screen time is wasted on back-to-back songs that don’t stick at all. Interestingly, the only tune that seems slightly likeable is the one that comes after Vasu is captured by the Pakistan Army.

Another thread that seems interesting is Vasu’s stay in the jail. His co-prisoners are jingoistic men from the Indian Army, and he is the only guy who doesn’t care about his country or its protection. He still wants to escape only for his girl, and this only irks the men there. When Vasu is pitted to fight against an Indian officer, and is told that he can escape death only if wins the fight, everyone wants Vasu to die and the other officer to win and escape the disgraceful death waiting at the end.

How he escapes this prison, which is run illegally, is what we are shown soon after, but even the escape is so bland that we want Vasu to get shot in the forehead and the film to end. But we are asked to gape at an action sequence where he dodges bullets and other firepower so easily and comes out alive to expose the illegal jail run by the Pakistani army, not without a preachy message directed at the villain about nationalism, conflicts between neighbouring nations and how they are fuelled by superpowers like America. All this in the foreground of a patriotic composition beginning with Vande mataram…

God save our country, and cinema.

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