Sky Force Movie Review

Direction: Sandeep Kewlani and Abhishek Anil Kapur

This Akshay Kumar-starrer is a cinematic winner. Paradoxically, poor footfalls characterise the initial response. It is rare, if at all, that mainstream Bollywood approaches anything remotely connected with the Indo-Pak relationship with anything less than high octaves and chest-beating jingoism. This time around, the direction duo (Sandeep Kewlani and Abhishek Anil Kapur) avoid the most tempting potholes and give you a minimalistic hate story built economically around the display of bravery by Squadron Leader Ajjamada Boppayya Devayya, the first Indian Air Force officer to receive the Maha Vir Chakra posthumously. The length of the film is also highly commendable, with a run-time of just about 120 minutes. ‘Sky Force’’s brevity is praiseworthy. The realisation that the focus time of the contemporary audience is not only evolving but also shrinking shows the filmmaker (s)’ understanding of changing trends.

The film starts at the Amritsar air base in 1971, where Pakistan’s Flight Lieutenant Ahmed Hussain (Sharad Kelkar) is captured by Indian forces. At the very outset, Wing Commander Ahuja (Akshay Kumar) announces that the hostage is first a soldier and only then a prisoner of war. This may at first blush seem a self-goal. However, it clearly is indicative of the tenor of the film. As the film progresses, the crucial role played by the captured Flight Lieutenant is subtly incorporated to say that human values are not a monopoly of this side of the border.

Wg Cmdr Ahuja, the character based on Wing Commander O.P. Taneja, heads the training unit of the Air Force, which includes various cadets, including T. Krishnan Vijaya (Veer Paharia – on debut — portraying Sqn Ldr Devayya). To the obvious discomfort of peers and colleagues, there is a warm bonding between Ahuja and his protégé Krishnan. Krishnan, however, is rebellious and akin, to many contemporary compatriots, wears his patriotism on his sleeve. Married to Geetha Vijaya (Sara Ali Khan), he is not only a promising Air Force officer but is also a doting husband, an expectant father and an obedient son-like student to Ahuja. Preeti (Nimrat Kaur), the wife of the Wing Commander, also shares a very warm bond with the young couple, while Ahuja nourishes a warm regard for the spirit and commitment of Krishnan. Their common boss Lawrence (Manish Choudhary) sees in the spirit of the younger officer, an undisciplined rebellion.

The entire action is well with the assistance of superior artillery. Pakistani forces attack India with Starfighters, American-made fighter planes. The Indian contingent succeeds in Operation Sky Force mainly on the theory that it is the man who operates the flying machine that determines the efficiency of the equipment. While the tangential statement that there is honour among enemies may miss the inattentive audience, it constitutes the basis of the story efficiently and emotively. The young Krishnan goes missing in the 1965 war. It is in the 1971 capture of the Pakistani officer that some headway is made about Krishnan’s whereabouts and, much later, his tragic disappearance is acknowledged and honoured.

War is an old habit of man. It caters to a voyeuristic delight in a citizenry that is increasingly jingoistic and cluttered in the belief that muscle-flexing across the borders is the only status symbol of greatness. Civilisation and cultural factors are often ignored in the context of contemporary adrenalin. Fortunately, for the discerning and, more importantly, the followers of good cinema, the director(s) follow a minimalist approach without having to compromise thematically or tone down the heroics of Sqn Ldr Boppayya Devayya, Maha Vir Chakra.

Of the cast, three performances are worth mentioning. The rest are at the best adequate or cluttered in war, dust and action. Debutant Veer Paharia carries promise and shows emotive skill sets that should augur well for the future. As the Pakistan hostage/captive a very steady dignified performance from Sharad Kelkar brings a qualitative difference to the portrayal of war heroes or what we euphemistically referred as enemies.

Not surprisingly, Akshay Kumar is yet again the mainstay of an action film. He cannot resist a few one-liners. Notwithstanding, this is a reiteration of Akshay, the actor, who maintains his calibre not only in the context of stardust but also in the dust of repute that his cinema has in receipt times accumulated. It is strange that this ‘Khiladi’ who has exhibited his range across genres is often underrated for his acting skills. If ever there was a need for the reiteration, he does so literally flying high and with his feet firm on terra firma.

The music, especially the background song ‘Mayi’, is interestingly placed. The master act however is playing ‘Ae mere watan ke logon’, the Lata Mangeshkar tribute to the 1962 war heroes. The film is a pleasant echo of the leading lines “Jo shaheed hue hai un ki zara yaad karo qurbani”.