Ae Watan Mere Watan is decently rousing and exciting

Sara Ali Khan as Usha Mehta in Ae Watan Mere Watan. Photo: Trailer Video Grab
By Rajiv Vijayakar: Compared to the drab Swatantrya Veer Savarkar, though I dare say comparisons are odious and unfair in film reviews, I could not help noticing how exciting Ae Watan Mere Watan was. And I am doing this unfair comparison only because these are two movies I watched back to back about real patriots in India’s freedom struggle! It all, as I have often before, boils down to the script and the director. Of course, this film skips Usha’s exemplary work even after Independence and merely mentions her death in 2000. It does not harp on her Ph. D. (Doctorate) and other distinctions from Bombay University, her ceaseless work in memory of Mahatma Gandhi and her disillusionment with independent India’s social, political and economic progress in her lifetime. It also must be mentioned here as a tangy point that noted filmmaker Ketan Mehta is one of the real Usha’s nephews, and we do not know why we did not get a biopic from him on her. After all, he has made Sardar and Mangal Pandey: The Rising on other patriots and other biopics on lesser-known men like Ravi Varma, the artist, and Manjhi, who carved a tunnel in a mountain on his own. Ae Watan… thus traces Usha (Sara Ali Khan)’s early influences when she detests a mentality that is subservient to the British rulers. Her first encounter with Gandhi (Uday Chandra) leads to her acquiring fierce patriotism as a credo and she even takes the vow of celibacy, upsetting her boyfriend Kaushik (Abhay Verma). But he soon understands her point of view and joins her in her missions, partly out of love for her, of course. Things hot up after radio stations are banned by the British and their atrocities continue. A chance meeting with a radio engineer, Firdaus (Anand Tiwari) leads to Usha deciding to start an underground radio station, for which funds are provided by Bua (Madhu Raja), her father’s maternal aunt who lives with them. It is after this point, where Usha and her friends play freedom fighters’ speeches on the radio and she herself talks on Freedom to the populace that things hot up. The radio achieves phenomenal popularity and among her chief and ardent supporters is Dr. Ram Manohar Lohia (Emraan Hashmi), the well-known political activist and leader. The Indian leaders, including Gandhi, have been jailed, and Usha, her friends Fahad (Sparsh Laapataa Ladies Shrivastava) and Kaushik, operate the radio passionately, every night at 8.30 p.m., spreading India’s Do or Die fight for the nation and the Quit India movement that has been planned by Gandhi. The British, of course, see red and more, and appoint an Indian tech wizard to trace the radio. From here, it becomes a cat-and-mouse thriller with both Usha and Dr. Ram Manohar on the one hand, and the British on the other, using 1940s technology to outwit the other. A powerful emotional angle comes in from Usha’s father (Sachin Khedekar), a judge in British India, who feels that the country has developed and will keep flourishing only if the British rule it. He reforms only after his retirement and acknowledges his daughter’s contribution to the Freedom struggle proudly. Sara Ali Khan gets the meatiest role of her career and sinks her teeth into it, delivering what is needed except in stray sequences. Sparsh, as in Laapataa Ladies, is exceptional as Fahad, the solid support to Usha. Abhay Verma as Kaushik radiates the innocence and mood changes needed very ably, while Sachin Khedekar is skilled indeed as the judge torn between the British luxuries and his rebel daughter. Manju Raja is simply great as the feisty Bua, and the supporting cast does full justice, like Anand Tiwari as Firdaus, Chrisann Pereira as his girlfriend, Godaan Kumar as Balbir and Alexx O’Nell as the ruthless (but not hammy) British officer John Lyre. In fact, it is a welcome and major relief to see the British as businesslike real yet dangerous officers of the Crown rather than the evil caricatures they are made to look like in most patriotic movies. But the real surprise here is Emraan Hashmi as Dr. Ram Manohar Lohia—it’s a correctly understated yet impassionate performance, in which his starry nuances remain unseen. If anyone deserves full marks here, it is our romantic and gray roles specialist hero! Kannan Iyer, who last directed the passable yet unsuccessful Ek Thi Daayan, rises notches above that work, and her script (with Darab Farooqui) has several moments where the excitement voltage spirals up and I was pleasantly roused into wondering what will happen next and how. The sequences where even youngters are beaten, the entire dargah sequence and the final climax are among the highlights of this film. After the juvenile (almost) and fictional Yodha, this is a dramatic return to patriotism for co-producer Karan Johar after worthy excursions in Raazi, Kesari, Shershaah and Gunjan Saxena: The Kargil Girl¸ completing yet another biopic on lesser-known and even lesser-celebrated patriots from different eras.Amazon Prime Video presents Dharmatic Entertainment’s Ae Watan Mere Watan Produced by: Karan Johar, Apoorva Mehta & Somen Mishra Directed by: Kannan Iyer Written by: Kannan Iyer & Darab Farooqui Music: Mukund Suryawanshi, Akashdeep Sengupta & Shashi Suman Starring: Sara Ali Khan, Emraan Hashmi (Sp. App.), Abhay Verma, Sparsh Shrivastava, Sachin Khedekar, Manju Raja, Alexx O’Nell, Godaan Kumar, Uday Chandra, Anand Tiwari, Chrissan Pereira, Benedict Garrett, Richard Bhakti Klein, Ashton Bessette, Rick McLane, Ed Robinson, Sanjeev Jaiswal, Aditi Sanwal & others. Ae Watan Mere Watan is decently rousing and exciting
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Why the UK Film and TV Industry Must Prioritise Health and Safety

Beneath the lights and glamour of the film and television industry is a lingering problem that affects thousands of workers: a less-than-stellar health and safety record. Recent events and statistics have illuminated the urgent need for a fundamental shift in how the UK’s film and TV industry approaches the well-being of its cast and crew, with HR managers playing a pivotal role in this transformation.

Long Hours, High Risk of Accidents: 

The film industry is no stranger to risky work-related activities, from daring stunts and eye-popping practical effects to the use of heavy machinery on set. But there’s another hazard lurking in the shadows: the gruelling hours that lead to drowsy driving and burnout.

It’s why the Broadcasting, Entertainment, Communications and Theatre Union (BECTU) launched the Eyes Half Shut campaign — a movement pushing to cut down on those long work hours to boost safety and productivity while giving workers in the film and TV business a better work-life balance.

The Impact on Workers: 

Behind every accident in a film or television production set are real people — hardworking individuals who deserve a safe and secure workplace. While actors and directors often grab the limelight, it’s crucial to remember the countless crew members who contribute to bringing our favourite shows and movies to life. These unsung heroes are often subjected to long hours, physically demanding tasks and precarious conditions.

The Looking Glass, a 2019 survey conducted by the Film and TV Charity, which involved over 9 thousand off-screen professionals in the UK, only 10% expressed that they believe the industry offers a mentally healthy work environment. Prioritising health and safety in this context goes hand-in-hand with fostering a culture of care. It involves establishing support systems and making resources available to help individuals cope with stress, combat fatigue, and address various mental health challenges.

HR managers in the UK film and TV industry play a vital role in ensuring the health and safety of their workforce. They must actively engage in the development and implementation of safety protocols, as well as foster a culture of well-being among all employees.

The Need for Change: 

So, why does the UK film and TV industry need to pay more attention to health and safety? The answer is clear — because lives are at stake. It’s essential for the industry to prioritise the well-being of its workers, not only for ethical reasons but also for its own sustainability.

First and foremost, establishing and enforcing robust safety protocols is a moral imperative. Every worker deserves to return home safely to their families after a day’s work. HR managers should work in tandem with production teams to invest in training, equipment, and safety personnel to reduce the risk of accidents and injuries. This includes adequate safety training for all crew members, especially those involved in stunts and special effects.

Furthermore, the financial impact of accidents and injuries in the industry is significant. Insurance premiums for UK film and TV productions can skyrocket in the wake of accidents, leading to increased production costs. Delays caused by injuries can result in budget overruns and potential legal disputes. By proactively addressing safety concerns, the industry can protect its bottom line.

It’s Time for a Cultural Shift:

To address these issues effectively, the UK film and TV industry must undergo a cultural shift. This means fostering an environment where workers feel safe reporting concerns without fear of retaliation. It also means promoting a culture of work-life balance and respect for the physical and mental well-being of everyone involved in production, with HR managers serving as advocates for these changes.Industry associations, unions, and guilds have a critical role to play in advocating for these changes. They can negotiate for better working conditions, safety standards, and mental health support as part of their collective bargaining agreements, with HR managers facilitating these discussions and ensuring their implementation.

Author: Alex Minett: Alex Minett is the Head of Global New Markets at CHAS, the UK’s leading health and safety assessment scheme and provider of risk mitigation, compliance, and supply chain management services. With a working history in the audit and management consulting industry, Alex is experienced in implementing visions and strategies. Skilled in negotiation, management and business development, he is passionate about driving CHAS in its mission to safeguard organisations from risk in the UK. Why the UK Film and TV Industry Must Prioritise Health and Safety | HR News
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