Anubhav Sinha, once synonymous with Bollywood extravagance, has carved out a distinct niche as an audacious storyteller of India’s socio-political landscape. Known for critically acclaimed films like *Mulk*, *Article 15*, *Anek*, and *Bheed*, Sinha dives into unchartered territory with his latest project, *IC 814: The Kandahar Hijack*. The seasoned director is set to make waves on the streaming service Netflix, bringing his potent narrative style to one of modern India’s most significant intelligence and security debacles.
Based on Captain Devi Sharan’s book, this six-episode series meticulously portrays the infamous hijacking of Indian Airlines Flight IC 814 in 1999. Sinha recounts how he was immersed in his career making music videos in Mumbai at the time of the incident. The tragedy doesn’t invoke personal memories of that period, but he notes that his friends in the industry believed he was always politically perceptive. Raised in Banaras and educated at Aligarh Muslim University, his background naturally fostered an awareness of political discourse, frequenting tea stalls where politics was a common topic of discussion.
Sinha makes it clear that his approach to the project was devoid of any intent to glorify or vilify. “I am not in the business of saving or glorifying people. Something happened, I did my research as authentically as possible, and here it is,” he asserts. The narrative of *IC 814* aims to present the event with stark authenticity, focusing on individuals who remain active within the security apparatus today.
When asked about the development of the script, Sinha reveals that Netflix initially presented him with a script based solely on Captain Sharan’s perspective from inside the hijacked aircraft. Discontent with this limited viewpoint, Sinha collaborated with screenwriter Trishant Srivastava to expand the narrative. Their research encompassed interviews with passengers and officials and detailed reviews of news reports, enhanced by unique insights from journalist Adrean Levy.
The series situates the hijack within the broader context of contemporary geopolitical pressures, occurring shortly after momentous events like Pokhran II and the Kargil conflict. Sinha emphasizes the importance of contextual understanding, noting that the coalition government of the time faced enormous pressure with 200 lives at stake. However, the series remains accessible to viewers unfamiliar with the era, offering a glimpse into the intricate challenges involved.
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Sinha’s storytelling process avoids second-guessing audience sensitivities, whether governmental or public. While acknowledging the governmental delays at Amritsar as a significant failure, he maintains a commitment to truth without malice. By lifting all curtains on the incident, Sinha posits that wherever one places the camera, only the truth will be observed.
The bureaucrats and Crisis Management Group members portrayed in the series present a fascinating dynamic, with differing backgrounds and approaches to the crisis. Sinha shares an anecdote about his meeting with a bureaucrat who, while initially reluctant to disclose information, subtly conveyed invaluable insights through their conversation. This nuanced depiction underscores the diversity within the group, from village-born officials to those raised abroad.
The casting process for *IC 814* brought together an ensemble of notable actors. Arvind Swamy was among the first to join, followed by renowned talents like Manoj Pahwa, Kumud Mishra, Naseeruddin Shah, and Pankaj Kapur. While Shah agreed without a script reading, Kapur took his time, meticulously reviewing the script before committing. This blend of rehearsal-driven actors and those relying on instinct created a dynamic but harmonious working environment.
Achieving historical accuracy in visual effects posed unique challenges, particularly in recreating the 1999 setting. The decommissioned aircraft and meticulous color grading of Kandahar required collaboration with VFX vendors, achieving a seamless blend of past and present through contemporary technology.
Reflecting on his evolving artistic vision, Sinha acknowledges the transformative impact of recent films like Christopher Nolan’s *Oppenheimer*. He recognizes that political films can also be spectacular, pushing for a broader scope in his future projects. Through *IC 814: The Kandahar Hijack*, Sinha inadvertently documented a turbulent period in Indian history, driven by a desire to give voice to the socio-political zeitgeist.
*IC 814: The Kandahar Hijack* is set to premiere on Netflix on August 29, promising an unflinching and multifaceted exploration of a dark chapter in Indian aviation history.
