Paan Singh Tomar movie is a 2013 biopic of a Chambal dacoit who lived many lives. It is directed by Tigmanshu Dhulia. Irrfan Khan stars in and as ‘ Paan Singh Tomar’. It is an ode to the late dacoit who fell prey to his unfortunate circumstances. The film was released around the same time as Bhaag Milkha Bhaag but didn’t get the deserved attention. But, surpassing the sports drama formulism Dhulia focuses on its international appeal with an understated treatment. A forgotten national olympian who brought so much glory to the country but did not get the deserved recognition and special facility for his services.
Socio-Political Context
More than focusing on the glory of Paan Singh Tomar, Dhulia simply treats him as a common and relatable individual whose need to sustain a life forced him to join the army, the provision of better food and ration for the athletes lured him to join sports, even after winning numerous medals for his country at the international vanguard he failed to get any protection of his land in the village from the corrupted police and the sell-out government. He seems like a real-life Forrest Gump who lived many lives but with a nihilist or I would call a ‘realistic’ twist. Dhulia infested an underlying commentary by contrast to the mainstream films that glamourize the achievements of the Olympians did not reveal their aftermath conditions with utmost honesty.
Robin Hood of Chambal
In the end, Paan Singh Tomar became the victim of the unfair system and society. When he stood up for himself with people like him as a rebel with a cause he represented the injustices of millions of people like him whose honesty and hard work got outshined by the corrupted society. So they took the law into their own hands and failed to protect them. He rose as a Robin Hood for his people who stole from the privilege only to return it to the underprivileged.
Bandit Queen Contrast
Dhulia who previously worked as an assistant director in Shekhar Kapoor’s ‘Bandit Queen’ got to know about Paan Singh. He went on to research more about him who had a shared hatred for the law as Phoolan Devi as they both were failed by the system. Dhulia did not make the film as gut-wrenching as Bandit queen. He kept it subtler than the raw treatment of Phoolan Devi’s life. Thus, the film could not rise to that level of greatness but leaves enough mark to consider it as an underrated gem. Mr. Irrfan Khan effortlessly makes the character a believable person who has flaws. He is not a hero nor a villain just a helpless common man fighting for his rights. The constant humiliation made him stand up for his rights. The loss of innocence due to facing life’s unfair treatment since childhood made Phoolan Devi rise up to her exploiters.
Peppermint Candy Reference: Stages of the ‘loss of innocence
Peppermint Candy is a South Korean film that depicts various life stages of a depressed man in the reversed chronology that led to his final demise. Unlike Paan Singh, Tomar Kim Yong Ho is a fictional character but he too went through different professions in his lifetime to sustain a livelihood. He is introduced as a depressed and poor businessman who went through the military and later police service. As the film comes to an end we come to terms with his initial naïve self who is not ready to face the rigorous hardships of the military or the cruelty of the police services. In Paan Singh, Tomar is also revealed to have no passion for his job but rather has joined the military as a responsibility to support his family neither he is a patriot who has the dedication to serve the country but rather greedy for more food when he joins in the steeplechase. His world hits a rock bottom when he and his family don’t get any special protection from the government for his national and international achievements. Thus, his journey in becoming a dacoit generates a sense of empathy.
Detailing
Dhulia carefully takes care of the detailing of the film to keep the realism consistent. Whether it is the flies over the sweets or the dacoits playing the cards. He humanizes the criminals. The ‘Bundelikhand dialect’ is kept as original that it might be difficult to understand for a generic cinema goer. The brown and yellow palette of the Chambal due to harsh sunlighting is authentically captured by Aseem Mishra. The dialogues written by Tigmanshu Dhulia and Sanjay Chauhan are quite impactful. But it is Irrfan Khan’s less dramatic delivery that makes it more powerful. Paan Singh’s befitting replies to every taunt from his colleagues in Moreni dialect and a high appetite create some gentle humor. The supporting cast’s mediocre acting fails to match the level of Mr. Khan who ultimately elevates the film. But, Brijendra Kala as the submissive journalist and Nawazuddin Siddique as Gopi make a memorable mark. All the other important characters are not fully fleshed out which makes them forgettable. It is further complimented by Sandeep Chowta’s background music.
Feudal System
As the first half celebrates the rise of Paan Singh as a seven-time national champion in steeplechase, the second half shows a different world where his rights are not protected. His paternal cousin illegally exploits his share of land and threatens him and his family with guns. Exhausted by their atrocities he tries to take help from the collector, the police, and the government who ultimately tells him to settle the dispute among themselves. Even after several attacks from his cousin for the land dispute and being forced by his family to take the road of violence he keeps his hope intact to take a legal route but ultimately is failed by the system. His road to justice ends up making him a criminal ultimately taking revenge on his cousin. Thus, in the end, he got his justice but the path remained illegal which paradoxically made him more popular.
