Pankaj Batra’s melodrama, Punjabi, combines a new angle in the First World War with an old-fashioned appeal: a largely fictitious commemoration of Sikh soldiers who served in the British Indian Army, flying between the usual links in the barracks and the girls’ memories back home before embarking on the latest shows of heroism and sacrifice. The musical mega star turned actor Diljit Dosanjh, in a move we could now call “making a style”, embodies the namesake Singh, a free thinker educated to fight the cause of independence, but forced by his father, a lackey empire. , hoping to achieve greater professional progression.
Rachid Bouchareb’s World War II film, Days of Glory, may have been an inspiration: our heroes must navigate the xenophobia and condescension of those who would make them walk behind the battalion and thus prove to be the first among their peers. The script raises an intriguing historical hypothesis: that men like Singh signed up because they thought it was more likely that the British would give them freedom if they fought together, but Batra generally prefers to work with too many movies. Proven War: Trench Dance. The number is new, but when a rookie talks nostalgically about future plans, we instantly know it’s over.
Its purpose is a quadrangular display that is not demanding and quadrangular instead of something unstable or durable, and constantly encounters a trap: several sured Britons show the rhythms of speech of people who speak Mandarin more fluently than the language. kindergarten. (Interestingly, these sequences taken in the UK seem to have had no trouble getting credible Germans.) However, Dosanjh is proud of the uniform, there is a well-lived support ride from Yograj Singh as a commander of the Sikhs, and Batra hits most of his big emotional beating, with the good feeling that there might be something moving and surprising in view of the defeated warriors attacking a field in Belgium.
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