The Untold Conspiracies Behind the Jallianwala Bagh Massacre

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The Indian historical drama series “The Awakening of a Nation,” produced by SonyLIV and helmed by renowned filmmaker Ram Madhvani, delves into the hidden plots linked to the 1919 Jallianwala Bagh tragedy from a perspective that reflects his own encounters with racial prejudice.

The story unfolds against the grim landscape of the Jallianwala Bagh massacre, a tragic incident from Indian colonial history that occurred on April 13, 1919. At the time, a significant crowd gathered peacefully at the Jallianwala Bagh in Amritsar, Punjab as part of India’s independence movement. British soldiers, under the command of Brigadier-General R. E. H. Dyer, encircled the area, sealed off the sole exit and indiscriminately fired upon the crowd, leading to the loss of many lives and wounding thousands.

The massacre serves as a crucial turning point in India’s struggle for independence. In the same month, a committee, headed by Lord Hunter, was established by the British Indian administration to investigate the occurrences in the Punjab region.

In an interview with EbMaster, Madhvani, the mastermind behind the Emmy-nominated Disney+ Hotstar series “Aarya” and director of Netflix original film “Dhamaka,” explains that while his work is not directly focused on the massacre itself, it does depict the commission behind it. However, he emphasizes that there’s more to his storytelling than just this – it delves into the issues of racism and colonization, which resonated deeply with him as they relate to the historical events that have impacted India.

The six-episode series, jointly produced by Ram and Amita Madhvani, originated partially from a distressing experience that has lingered in the filmmaker’s mind for many years. On his initial visit to London with his mother long ago, an encounter on an airplane left a lasting impact on Madhvani. During this trip, he attempted to move through the aisle when a white passenger spoke words that have influenced his creative process ever since: “Stay seated, you dirty foreigner.

Madhvani remembers being so stunned that she automatically sat down, an emotion that has lingered. She wonders about the concept of ‘The White Man’s Burden’, the sense of superiority it implies, why we were referred to as natives, and why we were taught to use utensils rather than eating with our hands.

This event sparked Madhvani’s investigation into colonial identity and historical account. “I have been pondering over it,” he says. “The colonization of our lands and our minds by foreign powers is concerning. The British conquered our territory, but we could tell them to leave. However, the Americans invaded our thoughts, and they seem impossible to expel. So while we could tell the British ‘Quit India,’ dealing with the Americans is a more complex issue.

In my perspective as a movie reviewer, this series steers clear of reenacting the horrific event itself and instead delves deep into the roots and consequences of the tragedy, with a keen focus on the commission that scrutinized it. Madhvani masterfully portrays General Dyer, who commanded the troops to open fire on innocent civilians, as a scapegoat in a broader imperial plot.

He points out that it’s inappropriate to approach an unarmed group and begin shooting without justification. The individual under discussion appears unfazed by the allegations against him in the reports, which is quite startling. However, upon closer examination, there’s a figure named Hans Raj who functions as a police informant. His whereabouts post the incident are unknown. There are numerous pieces of information circulating in the public sphere that suggest the commission’s findings were not thorough or impartial.

In this production, Taaruk Raina plays the lead role of Kantilal Sahni, joined by Nikita Dutta, Sahil Mehta, and Bhawsheel Singh Sahni. These four primary figures embody a miniature reflection of India’s varied religious groups, featuring characters that are Hindu, Muslim, and Sikh. The heartfelt bond among these friends serves as the emotional foundation for the storyline.

As a movie reviewer, I found myself captivated by the film’s ensemble cast of twelve exceptional British actors, most of whom, under the guidance of Director Madhvani, were relatively unacquainted with this overlooked episode in colonial history. Intrigued, they plunged into their roles, driven by a shared sense of responsibility to shed light on events that have been largely forgotten or erased in our collective consciousness. The film is a powerful testament to their commitment and the importance of historical truth-telling.

Madhvani carefully avoids portraying the tragic event, choosing instead to maintain a sense of reverence and respect for the incident. As he explains, “I’ve deliberately kept it out of my work because I want to honor what transpired. I aim to approach it with grace.” He continues, “The soldiers are depicted entering, but following that, the commission members appear on screen.

SonyLIV backed Madhvani’s commitment to authenticity, enabling British actors to converse in fluent English instead of Hindi with an accent. The filmmaker opted for his distinctive “System 360” technique: capturing scenes without the traditional “action” or “cut” commands, utilizing natural lighting, and prioritizing genuine performances.

In “The Waking of a Nation,” Madhvani seeks to grapple with the complexities surrounding cultural identity and historical authenticity. As he puts it, “This work represents my journey towards self-discovery, trying to understand where I come from.” Essentially, he’s a filmmaker exploring events that deeply affected him personally, and which were part of his own experience of colonization.

If successful, Madhvani intends to create a second installment delving into the 1857 rebellion, furthering his examination of India’s history through dramatic representation. His ambition goes beyond mere entertainment; it encompasses challenging historical omissions and scrutinizing the lingering psychological effects of colonization that are still felt today.

“The Waking of a Nation” streams on SonyLIV from March 7.

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2025-03-06 14:20