Plot SPOILERS here and there…

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So, Mohan Bhargava (Shahrukh Khan) is an NRI, a Non-Resident Indian. Mohan is busy living the American dream in Washington, D.C., residing in cushy digs and fostering a thriving career as a NASA engineer. And his expect for U.S. citizenship has impartial been well-liked. Yet, something is missing in Mohan’s very well-behaved life. On the latest anniversary of the death of his parents, he fondly recalls his nanny, who had raised him and is the last living tie to his parents. On a whim, Mohan goes on vacation to visit his beloved nanny in India. It’s a decision that will change his life…

SWADES is a well-behaved movie, a really estimable movie, and directed by Ashutosh Gowarikar, who made the awesome record Lagaan – Once Upon a Time in India. And, like LAGAAN, SWADES is more than your standard Bollywood fluff. Both pictures have things to say about their native country, and both pictures say these things well. SWADES is not as dramatic or as excitingly paced as LAGAAN, and not as filled with cinematic thrills (SWADES, for one thing, doesn’t have the sport of cricket to drive the station) . And yet, for all of its more than three hours of running time, SWADES does not ever halt being immensely watchable and enthralling.

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While LAGAAN hearkens support to a time in the past and recalls an event in which India’s rustic natives were able to beat the English at their beget game, SWADES tries for a more unique fabricate of patriotism. Mohan Bhargava, as mentioned, is a non-resident Indian who returns to his roots, initially to use time with his nanny. But the remote village in which he finds himself impacts him overwhelmingly, to the point where he begins to request his worldviews.

Progress is monotonous in definite parts of India. For each metropolitan like Original Delhi and Mumbai, there are hundreds of overlooked villages who barely have education and electricity. In little Charanpur, Mohan meets Geeta (Gayatri Joshi), a half-remembered childhood playmate and now a school teacher. Gita looks askance at Mohan’s RV, with all its fresh amenities. She’s unimaginative to thaw to Mohan, believing (accurately) that Mohan intends to retract away her nanny, who is like a second mother to her (yes, this nanny is the same one Mohan had advance to visit) . Geeta is graceful and independent (“There’s more to a woman than objective wearing bangles.”) and fights so hard to provide education for all the children of Charanpur. You stare, mature ways are so very hard to change. The prevalent thinking is that limited girls do not need school. And segregation of castes is strictly enforced. So no mixing of kids in school. Geeta fights hard, but it’s a futile thing. Education and electricity. The village of Charanpur does have electricity, but infrequently. These are only some of the things to which Mohan is exposed. But they space the ball rolling, as Mohan’s eyes are gradually opened to the inequalities and abject poverty of his homeland.

Two of the most wrenching (and memorable) moments in the film happen as Mohan travels many hours by hiss and boat to inquire rent from a farmer. But, it turns out, this is a farmer so very ashamed of his inability to pay and so destitute he finds it a constant struggle to feed his starved family. Yet the farmer finds the wherewithal to fraction his meager food with Mohan. That heartbreaking scene is then followed by a stopover at a railway site, as Mohan sees a simple dinky boy desperately attempting to glean the passengers to steal a glass of water for a coin. Dare ya. Dare ya not to feel something at these scenes.

But there are joyous moments, as well. One such moment pops up early in the film, as Mohan, enroute to Charanpur in his rigged-out RV, picks up a shaggy-haired wild man, which is all a lead-in to the invigorating, toe-tapping road song “Yun Hi Chala Chal” (“Retain Wandering”) . Then there’s that one evening when, as a power failure cuts short a film screening taking state in the village square, Mohan gives a lesson about the stars to the village children.

(Region SPOILER really comin’ up now, in this next paragraph.)

Big things stem from runt things. One of my approved moments is Mohan, having finally fully committed to the betterment of Charanpur, using his engineering savvy and pulling the villagers together in a massive project to provide electricity…for one light bulb. These scenes play out so well that you can’t abet but be touched by the payoff, when the recipient of that sole lit bulb, in a injurious hut, brokenly caresses one word: “Electricity.”

Shahrukh Khan has made a lucrative film career out of histrionics. And it’s a thumbs up to his talents that we realize he’s overacting and yet are calm vastly entertained by his movies. But SWADES finds a different Shahrukh, one who is more restrained and, therefore, even more effective. How is SWADES as watchable as LAGAAN? Simple. Shahrukh Khan. SWADES, being mostly an internal narrative and telling of one man’s self-discovery, depends largely on Shahrukh’s reactions, his ability to hiss emotions, his underplaying. When Shahrukh stops messing around and actually acts for sincere, as he does here, he becomes even more magnetic on cloak.

Not that he’s by himself in all this. The supporting cast is mostly marvelous, and particularly Gayatri Joshi. SWADES marks her film debut, not that you could teach by it. A striking beauty, Gayatri’s acting is nothing but self-assured and fiery. She and Shahrukh spark in their scenes together. Also memorable are the actors who play Mohan’s nanny, the postmaster/wrestler (really grand!), and the ambitious cook. However, the actors who play the NASA folks fare poorly (not counting Shahrukh, naturally) .

SWADES is, more than anything else, a heartfelt valentine to India. A valentine, and also a bit of a dis. Care For of country is counterpointed by the lead character’s assertions that changes do need to be effected in obvious repressive aspects of Indian culture and tradition. As one character tells Mohan, so is SWADES telling its homeland: “Go light your bulb.”

This movie is over three hours long, and I enjoyed every diminutive.

Note: Hindi with English subtitles.

Writer/director Ashutosh Gowariker’s follow-up film to the incandescent and highly successful ‘Lagaan’ is an delectable but far too long narrative of one man’s wretchedness to unite a rural Indian community in chaos and prove them the path to a better future for everyone is one that can change with the times while collected embracing the past.

Gowariker repeats the basic storyline from ‘Lagaan’ where we had the doughty Bhuvan (Aamir Khan) breaking through the bonds of worn resentments, customs and taboos in his village in an trouble to unite his people and defeat the British at their hold game, cricket. This time around in ‘Swades’ it’s Mohan (Shakrukh Khan) who is trying to unite a rural village in Northern India to forget about their ancient prejudices and work together in an misfortune to provide considerable needed electricity to the village. Unfortunately repetition doesn’t guarantee repeated success.

Shahrukh Khan as always proves himself to be not only the top actor in India but one of the best anywhere. This is also the first film for Gayatri Joshi who plays Mohan’s admire interest Gita. She simply lights up the hide with her smile and fair movements. It isn’t an easy task for anyone to play opposite Shahrukh Khan, but somehow she pulls it off masterfully. Their chemistry is incredible.

The only jam with this film is the length. Unlike ‘Lagaan’ which made you forget about time altogether, ]Swades’ tends to wears you down making it difficult to possess maximum focus and interest until the demolish. A small shorter would have definitely been better. If you’re accustomed to the lengthy nature of Indian cinema you’ll probably worship this one, however if you’re unusual to the genre try `Lagaan’ or Kabhi Khushi Kabhi Gham’ before watching this one.
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