On December 31, 1999, as the world eagerly awaited the dawn of a new millennium, Indian Foreign Minister Jaswant Singh found himself on a diplomatic mission of unprecedented gravity. He was en route to Kandahar, Afghanistan, accompanied by three notorious terrorists who had just been released from Indian prisons. This high-stakes release was part of a critical exchange deal designed to secure the freedom of 176 passengers and crew members on board Indian Airlines flight IC 814, which had been hijacked eight days prior after its departure from Kathmandu.
The events that led to the hijacking, and the subsequent capitulation of the Indian government to the demands of the terrorists, have long been subjects of academic debate and cultural exploration. This complex and multifaceted story is akin to the parable of the ‘blind men and the elephant,’ where different perspectives shed disparate insights into a larger, enigmatic whole. In a riveting new series, writer-director Anubhav Sinha revisits this historical episode, utilizing today’s advanced socio-political analytical tools and cutting-edge technology to peel back the layers of what was one of the longest hijack situations in Indian aviation history. Sinha seeks not only to answer lingering questions but also to offer a measure of solace.
The series, framed as a fictional narrative underpinned by real-life events, promises to keep viewers on the edge of their seats with its dynamic blend of action and drama. Inspired by “Flight Into Fear,” Captain Devi Sharan’s firsthand account of the hijack, the series expands beyond the pilot’s courageous viewpoint to envelop a broader geopolitical scene. The delayed response in Amritsar and the presence of RDX onboard are just pieces of the intricate puzzle Sinha aims to piece together, offering a comprehensive view of the geopolitical landscape in the post-Pokhran and post-Kargil War period. This ambitious storytelling endeavor largely succeeds in crafting a gripping narrative.
Through various narrative lenses, the series artfully balances multiple perspectives without confusing the audience. The stakes are undeniably high: 200 lives hang in the balance, along with the national ignominy of being seen as a ‘soft state.’ Through the lens of Masood Azhar, the feared terrorist among those released, a broader geopolitical chess game unfolds, implicating Afghanistan and Palestine. Meanwhile, the desperate hostages yearn to reunite with their families before the new millennium dawns. Sinha adeptly navigates these diverse viewpoints, exposing hypocrisies and bigotry with a wit that both entertains and provokes reflection.
Anubhav Sinha has previously demonstrated his ability to blend realism and drama in films like “Article 15” and “Anek.” With a stellar ensemble cast and rich material at his disposal, Sinha delivers an even more nuanced portrayal of Indian democracy during the coalition era. The series captivates with its authentic depictions of clipped conversations, pragmatic nationalism, internal bureaucratic struggles, and diplomatic maneuvers. The subtle games of one-upmanship between security agencies unfold with an impressive ring of authenticity.
The nuanced portrayal of how different government arms respond to crises, informed by their roles, hierarchical positions, and social backgrounds, is captured adeptly. Amidst the war room’s frenetic activity, Sinha emphasizes the critical distinction between job and duty, revealing how passing the buck during a crisis can undermine the collective cause. The series underscores India’s multifaceted nature, stressing that while Afghanistan hosts numerous players, India’s internal voices take time to unite for a shared goal.
. It stresses that the geopolitics of the situation is more intricate than the media’s simplified narrative of Pakistan’s betrayal and highlights the personal interests that sometimes eclipse political sagacity in the Great Game.
There’s a depth to the seemingly casual dialogues — debates over coffee and tea carry significant implications. When the pilot cleans the toilet, it symbolizes a broader call to duty. And when condescending officials encounter Indian-style toilets in Taliban territory, it serves as a humbling experience, spotlighting cultural contrasts.
While maintaining a robust procedural structure, Sinha does not forsake human drama and sardonic humor. The series skillfully avoids exploiting the tragic circumstances for emotional manipulation. The visual effects team excellently recreates the period, integrating archival footage and computer-generated imagery to provide an immersive viewing experience. Commanding camerawork by Ewan Mulligan and Ravi Kiran Ayyagari maintains a high level of engagement. Despite hijacking being a recurring theme in Hindi entertainment, this series manages to feel fresh and unexpected, expertly blending emotion and action.
Vijay Varma stands out as Captain Sharan Dev, embodying resilience and hope under duress. Limited physical movement does not hinder his performance; his expressive face communicates the spectrum of emotions generated by the hijack. Varma’s portrayal is heroic yet understated, rendering him the heartbeat of this intense series.
Anubhav Sinha has skillfully assembled an array of powerful performers who embody the series’ cerebral core. Pankaj Kapoor excels as the foreign minister tasked with managing the complex diplomatic front, and Manoj Pahwa shines as a brusque intelligence official whose negotiation tactics with hijackers provide dark comic relief. Pahwa’s Mukul, despite his cumbersome frame and digestive issues, emerges as the most aggressive ground operative, his sparring with Arvind Swamy’s credible South Block official one of the series highlights. The supporting cast, including Kumud Mishra, Naseeruddin Shah, Kanwaljeet Singh, Aditya Srivastav, and Dibyendu Bhattacharya, deliver memorable performances, while female actors Patralekhaa and Additi Gupta also leave a significant impact.
However, there are moments where Sinha’s narrative draws short of its full potential. Despite borrowing heavily from real events, the series remains conspicuously silent on the role of key ministers in the Crisis Management Group and does not delve into the absence of the defense minister from the decision-making epicenter. Creative liberties are taken with names and events, aligning the plot closer to the foreign minister’s perspective, while the names of terrorists and Taliban leaders are either accurate or closely resemble their real counterparts.
Regrettably, comedian Rajeev Thakur as the lead hijacker falls short of his terrifying role, lacking the menacing impact expected from a psychopathic antagonist. Additionally, while the critique of the calm precision of print media versus the chaotic frenzy of electronic news is timely, its execution feels somewhat superficial in comparison to the series’ otherwise meticulous narrative style.
Overall, “IC 814: The Kandahar Hijack,” now streaming on Netflix, emerges as an intriguing blend of political thriller and human drama, shedding light on a dark chapter in Indian aviation history with a thoughtful and engaging narrative.
