When Ekta Kapoor announces a new project, the world knows to either expect a spectacle of glitzy drama or, occasionally, a story that delves into gritty realism. With The Sabarmati Report, however, the only thing it seems to promise is an unholy blend of dubious historical revisionism and borderline exploitation. It’s not just another film; it’s a near-forced reminder of one of the darkest chapters in India’s modern history—the Godhra train burning incident of 2002. And it’s all dressed up in the guise of "factual filmmaking," though truthfully, the movie is less about facts and more about poking at old wounds that many are still grappling with.
A Wound That Refuses to Heal
Let’s get this straight: The Godhra incident, where 59 people lost their lives in an incredibly tragic and violent event, is something that the nation has already wrestled with for decades. We’ve seen countless reports, documentaries, and debates. We’ve lived through the aftermath. But now, Ekta Kapoor, director Dheeraj Sarna, and their team feel it’s time to dredge up this tragic past with a film that’s as shallow as it is provocative.
Here’s the issue: the film’s creators insist it’s based on “research” and “facts”—yet it conveniently omits the very sources that could have provided a nuanced and balanced perspective. There is no "The Sabarmati Report"—no magic journalistic investigation that serves as the film’s basis—just two widely known commissions of inquiry: the Nanavati-Mehta commission and the UC Banerjee commission. The former offers a complex, layered understanding of the events, while the latter is more controversial in its findings. But where are they in the film? Nowhere to be found, of course. Instead, the makers have chosen to pepper the trailer with vague references to the incident, all in a bid to sensationalize and provoke, rather than inform.
Propaganda, Not Journalism
In an era where cinema can be an educational tool, The Sabarmati Report appears to have missed the memo. What’s worse, it seems determined to capitalize on the tragedy rather than add to the dialogue in a meaningful way. The trailer alone suggests that the film will merely skim the surface of the horrors that unfolded on that fateful night, highlighting the train burning but offering little in terms of insight into the causes or the aftermath.
Instead, we’re treated to the filmmaker's dramatized version of history, designed to leave the audience with a lingering sense of outrage without any real understanding of the context. When the trailer proudly states that the film is “based on facts,” it’s essentially marketing a fictionalized spectacle as if it’s something that can be neatly packaged into a few hours of cinema. It’s one thing to entertain, but it’s another to provoke for the sake of provocation. And The Sabarmati Report feels more like the latter.
Enter the Stereotypes: English vs. Hindi Media
Now, let’s talk about the other troubling subplot in the trailer—the supposed divide between English-speaking and Hindi-speaking journalists. Apparently, the film seeks to address a supposed hierarchy where English-speaking reporters are depicted as condescending towards their Hindi-speaking counterparts. This, frankly, is a cringeworthy attempt to inject an issue that’s not only exaggerated but also largely irrelevant to the narrative at hand.
While the entertainment beat is guilty of some cultural snobbery, the notion that crime or investigative reporters (regardless of language) would look down on each other is laughable at best. Journalists from all language backgrounds earn the same respect in the field, and the film seems to be making a mountain out of a molehill. It’s as if the makers had to throw in a “meaty” side plot to appear progressive but ended up coming off as tone-deaf and uninformed.
Actors, Why?
Then, we must address the elephant in the room—Vikrant Massey, Ridhi Dogra, and Raashii Khanna. These actors are no strangers to challenging roles, but one can’t help but wonder: why sign up for this project? What motivated them to be part of a film that looks like it’s more interested in stoking the flames of controversy than in telling an authentic or thoughtful story? Perhaps it’s a paycheck; perhaps it's just the allure of working with a producer as prominent as Ekta Kapoor. Whatever the reason, one can’t shake the feeling that the film’s primary goal is to cash in on the sensationalism rather than contribute to a meaningful dialogue.
The Final Verdict: A Cinematic Disaster in the Making
With The Sabarmati Report, the line between “art” and “propaganda” gets blurrier by the day. The film, scheduled for a theatrical release on November 15, 2024, is already attracting fire from critics and audiences alike for its shallow portrayal of an incident that has caused irreparable damage to a nation’s psyche. Instead of being a sensitive exploration of the trauma caused by the Godhra tragedy, it feels more like a lazy attempt to make a quick buck by exploiting a painful memory.
So, here’s a suggestion for Ekta Kapoor and company: Maybe, just maybe, it’s time to rethink the approach. If your film is really about healing, about helping people understand, then you need to respect the truth—all of it—and present it with the nuance it deserves. Otherwise, don’t be surprised if The Sabarmati Report is remembered not for its storytelling, but for the wounds it opened that many were still trying to close.