Ae Watan Mere Watan movie review: Sara Ali Khan’s patriotic film is anything but touching | Web Series News

About Ae Watan Mere Watan

Recreating someone’s life on the big screen can be a complicated task. Either of them can create a film that will go down in the pages of history as a cinematic masterpiece, like Christopher Nolan’s. oppenheimer, based on the life of physicist J. Robert Oppenheimer, or they can do what Kannan Iyer has done. Iyer, who has given us in the past, the stellar Ek this daayan has come out with the biographical drama Ae Watan Mere Watan, based on the life of Usha Mehta, who is credited with starting Congress Radio during the Quit India movement in pre-independent India. The film, with Sara Ali Khan in the lead, however, for lack of better words, it can be defined simply as – deficient.

Ae Watan Mere Watan is a biographical drama that chronicles the life of Usha Mehta (Sara Ali Khan), a brave young woman who played a pivotal role in India’s fight for independence in 1942. In the midst of the Quit India movement, she started an underground radio station. intended to foster unity. and resistance against British rule. This daring act sparked an intense manhunt by British authorities, leading to a thrilling chase as Mehta fought to amplify the voice of freedom.

Sara, fresh from the Homi Adajania murder mystery Mubarak assassination, here assumes the mantle of the Khadi-clad heroine, a champion of Swadesh, who shouts “Karo Ya Maro” at every opportune moment in the narrative. She is ably supported by Abhay Verma‘s Kaushik and SrivastavaIt’s Fahad. As the three become involved in the functioning of the Congress and the fight for freedom, driven by the atrocities committed by the British Raj, they must fight their demons, both internal and external, as they journey to make their dream come true. of an independent India.

While Ae Watan Mere Watan Although it promises to be a compelling war drama on paper, there is nothing moving about what happens on screen. A discernible discontent runs through the narrative, and the dialogue lacks any sense of honest urgency. Meanwhile, the cast, within their restricted scope, tries their best to deliver a convincing performance. Sara Ali Khan as Usha tries to evoke the fervor of a young woman who frequents the freedom movements in her hatred of the Raj, while both Abhay and Sparsh (who we recently saw in Laapata Ladies) play the perfect role. Special mention deserves Sparsh, who is already showing sparks of brilliance. The other actor who does exciting work is Alex O’Nell as John Lyre, the British intelligence officer tasked with taking down Congress Radio. O’Nell brings the perfect amount of cunning and sinister machinations to his limited screen time. Emraan Hashmi as the historical Ram Mohan Lohia doesn’t have much to offer.

Ae Watan Mere Watan it languishes in the first half due to its slow pacing and inability to create a sense of conviction within the narrative. The plot meanders at its own pace, showing a slow character arc for each of the three actors most involved in the plot. However, it is the second half where ae Watan Mere Watan He really picks up the pace like a cat and a game ensues between British intelligence officers and Congressional radio, each trying to outwit the other.

Unfortunately, that adrenaline rush may be too little, too late.

Iyer attempts to salvage his weak script by turning Mehta’s story into one that celebrates the relationship between an estranged father and daughter, while adding a dash of patriotism with references to heroes lost in the pages of history and the annals of time. (Gumnaam, he calls them). But it remains to be seen, dear reader, whether that is enough to save his interest and his time.