‘The Sabarmati Report’, directed by Dheeraj Sarna and produced by Ekta Kapoor, tackles one of the darkest chapters in India’s modern history: February 27, 2002, burning of the Sabarmati Express near Godhra, Gujarat. This heinous act claimed the lives of 59 kar sevaks, many of them women and children, triggering days of violent communal riots.
The film, starring Vikrant Massey, Raashii Khanna, and Riddhi Dogra, does not shy away from confronting the event’s painful truths. It paints a vivid picture of the tragic morning, the aftermath, and the political quagmire that followed. More importantly, it courageously ventures into the long-buried questions surrounding the incident, peeling back layers of obfuscation and conflicting narratives.
Fiery tomb and political embers
The Sabarmati Express, returning from Ayodhya after a VHP-led religious ceremony, became a fiery tomb for its passengers. The movie reconstructs the horrors aboard Coach 6, where the fire’s origins and implications have been fiercely debated for decades. While the state government-appointed Nanavati-Mehta Commission concluded that the fire was a pre-planned arson by a Muslim mob, the Centre’s Banerjee Commission under then Railway Minister Lalu Prasad Yadav dismissed it as an accident.
The filmmakers position their story firmly on the side of arson. Through two investigative journalists separated by five years, the movie unravels a chilling conspiracy implicating self-serving leaders who weaponised their community for political ends. Their actions ensured not just the deaths of innocent kar sevaks but also perpetuated a cycle of hatred and violence.
One risk at a time
The plot weaves a compelling narrative, where a journalist in 2002 compiles a report exposing the true motives behind the attack, only to have it suppressed. Five years later, another journalist discovers the report and embarks on a perilous journey to Godhra to connect the dots. The film masterfully depicts their pursuit of truth, fraught with threats and opposition from powerful vested interests.
The movie’s pace keeps viewers engrossed, presenting the investigation not just as a quest for answers but also as a commentary on the societal and political machinery that thrives on silencing dissent.
A cathartic watch for its audience
Prime Minister Narendra Modi, the chief minister of Gujarat during the 2002 riots, watched the film alongside several Cabinet members. His presence underscored the political significance of ‘The Sabarmati Report’. Modi’s reaction, as shared by the cast, highlighted its emotional resonance even for those intimately connected to the incident.
The BJP’s enthusiastic endorsement of the film, including tax exemptions in various states, has drawn criticism from its political opponents. However, ‘The Sabarmati Report’ seems to transcend partisan narratives. For viewers, it offers a cathartic understanding of events that were long clouded by misinformation and political agendas.
An honest attempt or political propaganda?
Critics have questioned whether the film serves as political propaganda, given its timing and the BJP’s promotional push. Yet, to its credit, ‘The Sabarmati Report’ feels less like a tool for scoring political points and more like an honest attempt to reveal a buried truth. The meticulous research and compelling performances lend the movie credibility, ensuring that it stands as a work of art rather than a political diatribe.
As you step out of the theatre, there’s no denying the impact of ‘The Sabarmati Report’. It answers many lingering questions while raising new ones about the accountability of leaders, the role of media, and the resilience of justice in a democracy. It doesn’t claim to provide closure, but it offers clarity — a rare and valuable commodity in the ongoing discourse surrounding 2002.
Poetic reflections on a fiery truth
Noted shayar, the late Rahat Indori, during a Mushaira and Kavi Sammelan in Dubai, held soon after the Godhra massacre
poignantly remarked, ‘Hum to murdon ko bhi nahi jalate, tho jindo ko kya jalayenge’, to rapturous applause. His words, steeped in poetic brilliance, alluded to the Hindu practice of cremating their dead, contrasting it with the Muslim tradition of burial.
Indori’s line was a commentary on the communal tensions that erupted in the aftermath of the tragedy. One wonders what his reaction might have been had he watched ‘The Sabarmati Report’. Would it have reaffirmed his belief in justice and truth, or deepened his anguish at the horrors revealed? The film’s unflinching portrayal of that fateful day could have elicited another unforgettable couplet, underscoring the power of art to confront history’s darkest moments.