‘The Railway Men’ series review: A bracing, wishful saga of bravery

R Madhavan in ‘The Railway Men’

The Railway Men opens with a short coda in the immediate aftermath of the 1984 Bhopal gas leak tragedy, which killed over 15,000 people and is considered the world’s worst industrial disaster. A reporter, played with rugged tenacity by Sunny Hinduja, watches from afar as Union Carbide chairman Warren Anderson is first detained on his arrival in India and then, only a few hours later, flown out of the country in a government-sanctioned plane. “An eye for an eye makes the whole world blind,” the journalist wryly quotes Gandhi, in voiceover, wondering what such ideals of forgiveness and non-violence mean anymore in a country where the perpetrators of mass slaughter tend to get off scot-free. It’s a loaded reference to make in the context of a disaster that literally blinded hundreds of people from chemical exposure.

There are many ways to begin a show like The Railway Men, with its expansive factual scope and multitude of characters. Thus, it’s telling that director Shiv Rawail, making his debut at YRF Entertainment, would decide to lead with this scene. In a way, it honours the decades of public anger and resentment over Bhopal before telling—as disaster dramas tend to do—a story of hope and civilian courage. Evidently inspired by the acclaimed 2019 miniseries Chernobyl, this 4-part show on Netflix recreates a grim historical tragedy through the eyes of its warriors and emergency responders. In this case, it’s a set of employees of the Indian Railways who conduct a daring rescue operation to save a fraction of the population after highly toxic methyl isocyanate (MIC) gas escapes from the Union Carbide plant in Bhopal on the night of December 2-3.

Iftekaar Siddiqui (Kay Kay Menon) is the honest and scrupulous stationmaster of Bhopal Junction railway station. Ten years ago, he was involved in a tragic derailment and is haunted by guilt and trauma. Greying and bespectacled, Iftekaar is going over his nightly ledgers when he observes a commotion on the platforms. Passengers coughing, foaming at the mouths, dropping dead in heaps. Though it’s unclear to him in this instance, poisonous gas from the nearby chemical plant has filled the entire city air. On the advice of Balwant (Divyenndu Sharma)—a thief disguised as a Railway Police Force (RPF) constable—Iftekaar assembles the surviving passengers in the waiting room of the station and seals off the doors. Later, with some assistance from loco pilot Imad (Babil Khan), a new recruit, he attempts to contact the nearest junction, asking them to stop the inbound Gorakhpur Express from reaching Bhopal and also send a rescue train.

The Railway Men (Hindi)

Director: Shiv Rawail

Cast: Kay Kay Menon, R Madhavan, Babil Khan, Divyenndu Sharma, Sunny Hinduja, Juhi Chawla, Dibyendu Bhattacharya

Episodes: 4

Run-time: 50-60 minutes

Storyline: After a deadly gas leak at the Union Carbide chemical plant in Bhopal in 1984, employees of the Indian Railways spring to the rescue of the stranded populace

Dramatically, Iftekaar’s message doesn’t reach. Nevertheless, Rati Pandey (R Madhavan), the idiosyncratic General Manager of the Central Railways, picks up on the signs of the unfolding crisis. His first action is to phone Delhi for help—his former partner, Rajeshwari (can Netflix please find full-length roles for Juhi Chawla?), is on the Railway board. The series contrasts the efforts of these brave and selfless railwaymen—and women—with the rampant greed and negligence that led up to the leakage in Bhopal. We learn that the safety controls at the Union Carbide factory were in violent disorder, corporation higher-ups in the US having written off the loss-making pesticide plant in India. The series skirts around the possibility of how the plant—already flagged as hazardous—was allowed to operate in a densely populated area. The central and state governments largely come off clean, both before and after the leak; all we get is a mention of bureaucratic indecision and a brief scene of police corruption.

Of course, with the setting being the winter of 1984, there are other poisons in the air. Indira Gandhi has recently been assassinated; the country is engulfed in retributory anti-Sikh violence. Rajiv Gandhi’s famously chilling line—’when a big tree falls, the earth shakes’—is echoed in a scene where a couple of Sikh passengers encounter rioters on a moving train, and are rescued by a conscientious guard (Raghubir Yadav). Before the rioters get on, several of them chant, “Indira ke hathyaro ko, jaan se maaro saalo ko (Indira’s killers deserve to die)“, echoing a political dog whistle of recent times. There are other contemporary reflections in the series, especially of Covid times: people tying kerchiefs as facemasks, mass burials and cremations, Iftekaar warning his townsfolk not to jump to unverified conclusions.

Kay Kay Menon plays the ageing, watchful stationmaster with a beautiful mix of sternness and empathy (his subordinates lovingly call him ‘Sir Sahab’, a double honorific). Kay Kay has witnessed a career resurgence on streaming; coincidentally, one of his earliest films, Bhopal Express (1999), was backdropped on the same tragedy. R Madhavan and Divyenndu get colourful, if limited, roles, and render them well. Rawail dresses the grand production in sickly hues of green, gray and yellow. Cinematographer Rubais’ camera moves with a doomy inevitability. The weird angles and the enthusiastic camera spins left me feeling physically dizzy—even if the makers were going for maximum immersion, it’s not the best experience to offer viewers watching up close on a small screen.

Iftekaar, Imad, Rati… several of the characters in The Railway Men have a personal cross to bear. It, in turn, steels them in their moment of truth. That a number of its heroes are Muslim, and so were many of the victims of the 1984 tragedy, is left unstressed (at least verbally) in the series. Instead, the show turns, perhaps a bit wishfully, to the oneness of the Indian Railways and the Bhopal people at large. “Yeh meri basti hai, mera seher hai (this is my slum, my city),” Imad says early on. He fails to save it all by the end, but he dies trying.

The Railway Men is currently streaming on Netflix.

https://www.youtube.com/watch?v=iD3TZ_Xxc14

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Friday Night Plan Review: Babil Khan Puts His Best Foot Forward In Light-Hearted Entertainer

Babil Khan and Amrith Jayan in a still from the movie. (Courtesy: NetflixIndia)

Boys will be boys, boisterous, bristling and brazen especially when no one is watching, but the ones we meet in Friday Night Plan, a teen comedy written and directed by debutant Vatsal Neelakantan, are a tame bunch by the established standards of the genre. They aren’t reminiscent of the sort of guys who pushed the boundaries of exuberance in American Pie or Superbad.    

These Mumbai boys are straightlaced kids in quest of some harmless fun at a turning point of their lives. They certainly aren’t looking to lose their virginity. All that they intend to do in the course of a few hours of hard, booze-soaked partying a week ahead of their prom night is find girlfriends to accompany them to the ball. The worst that they can do while they are at it is get as sloshed as possible without passing out.

Friday Night Plan, produced by Excel Entertainment for Netflix, revolves around two temperamentally dissimilar teenage brothers who bicker, banter, indulge in pillow fights and generally get in each other’s ways in as many ways as they can.

The film is flighty, fluffy and feathery, as comedies of this kind usually are, but it is also agreeably diverting thanks in part to a screenplay that manages to conjure something out of literally nothing. That is not to suggest that there is anything magical in Friday Night Plan.

It is a bit like the boys it revolves around – staid and unexciting – notwithstanding the mild froth it whips up. It is a coming-of-age film that isn’t wacky or wild enough to suck the audience into the whirligig of high school life or into the topsy-turvy inner worlds of on-the-cusp-of-college boys and girls determined to make the most of the leapfrog into adulthood.        

Sid Menon (Babil Khan), 18, is a nerdy young man a week or so away from graduating from high school. His focus is squarely on college applications but he is no hurry. He is wary of going wrong. It is not a day too soon for him to learn to chill and throw caution to the wind, if only occasionally.

His brother, Adi Menon (Amrith Jayan), 16, is far more adventurous. He is forever up to mischief, a trait that Sid frowns upon. So, when Adi wants to go and watch Sid warm the bench during school football tournament final, the latter wants his ki brother off his back. His mother (Juhi Chawla in a special appearance) talks him out of his firm disinclination.

Mom leaves for Pune for a business meeting but not before she makes her older son promise that the brothers will stay out of trouble. But that is easier said than done.

No sooner is their mother on her way than the two siblings are ready to firm up plans to head to a party at the home of the school’s most popular girl, Natasha “Nat” Sabharwal (Medha Rana), and her little sister, Nitya “Nits” Sabharwal (Aadhya Anand). On their way there, the duo hits a rough patch.  

It is a week ahead of prom night. The boys and their mates, following the football match that throws up an unlikely star, decide to let their hair down, guzzle bucketloads of beer and play party games while utilising the evening looking around for a prom companion.    

Friday Night Plan unpacks itself in four principal spaces – Sid and Adi’s home; the school’s football ground where Sid achieves a breakthrough that opens a door he did know existed; the streets of Mumbai and the venue of the party – before the brothers wind up in a police station.

It all pans out over a single night that throws Sid into slippery situations. Adi, unflustered, has a way of treating every kerfuffle with an air of nonchalance, which annoys Sid no end.

A war of pranks erupts between two groups of boys. It escalates rapidly and the two brothers find themselves in the crosshairs of a Mumbai policeman on duty, Sub-inspector Suhas Pingale (Ninad Kamat). As time runs out on them, they have a serious matter to resolve, home in on a girlfriend each, and make their way back home before their mother returns.

Amid the misadventures of the two callow boys, the film drops a few truth bombs as Sid and Adi alternate between blaming each other and sheepishly feeling fleeting fraternal fervour and even exchanging apologies. All this happens while the elder brother, now somewhat free of his inhibitions, loosens up with both Nat and Nits, the two sisters who, like the Menon boys, have nothing in common as far as their priorities in life go.

Friday Night Plan rests on a thin storyline that is built on the clash of the character contrasts that separate and define the four key individuals in the story. Nat is the gregarious one. Nits is an introvert, a bookworm who is at her best when she is lost in her thoughts.  

Sid has to contend with a formidable rival in Kabir (Aditya Jain), the star footballer of the school, in his attempts to earn Nat’s attention. As the night wears on, the pints he downs help Sid step out of his shell much to the delight of his kid brother.      

Insubstantial as it might be as a coming-of-age drama, Friday Night Plan works in parts because the two male leads get into the swing of things without much ado. Babil Khan puts his best foot forward as the honest-to-goodness guy who is overly circumspect, a boy who prefers to keep to himself until a couple of incidents catapult him into the spotlight.

Amrith Jayan as the chirpy younger brother who revels in pushing his luck is no less impressive. In the role of the boys’ mother, Juhi Chawla is effortlessly in step with the flow of the not-too-demanding film. Ninad Kamat as the angry cop lying in wait to read the brothers the riot act has his moments under the sun, er moon.  

The others in the cast keep the flimsy but inoffensive romp moving along with their zestful performances. Both Medha Rana and Aadhya Anand do their very best in a film that is not so much about what the girls want as about two boys compelled to grow up in the matter of a few hours.

Friday Night Plan may not be the most happening cinematic party you will ever be invited to, but it is the sort of modest-scale, light-hearted entertainer that does not lose the spring in its dainty steps although it never quite turns into a full-fledged foxtrot.        

Cast:

Babil Khan, Amrith Jayan, Aadhya Anand, Juhi Chawla

Director:

Vatsal Neelakantan

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