‘120 Bahadur’: A stirring war saga that may outshine ‘Border’
A powerful, emotionally grounded retelling of the Battle of Rezang La, driven by strong performances and authentic storytelling
Mumbai, Nov 22 : 120 Bahadur is a war epic that refuses to dilute the weight of sacrifice. Apart from a few situational songs that surface at moments of emotional strain, the film moves without digressions, offering a gripping revisitation of a chapter of India’s border strife history many prefer to leave buried. While some argue the past should remain untouched, the film insists that honouring past heroes is essential to safeguarding the future.
At its heart lies the story of Param Vir Chakra awardee Major Shaitan Singh. After his martyrdom no spoiler for history his wife, played by Raashi Khanna, reads a posthumous letter he wrote for their son. In it, Shaitan urges the boy to care for his two mothers: his biological mother and Bharat Mata. In an age defined by cynicism and digital detachment, such sentiments might appear sentimental. But 120 Bahadur embraces these emotions with sincerity, making a compelling case for revisiting stories of courage and loss.
Director Razneesh Ghai and writer Rajeev G Menon recreate the Battle of Rezang La (18 November 1962) where 120 Indian soldiers held their post against a 3,000-strong Chinese contingent with remarkable clarity and urgency. Cinematographer Tetsuo Nagata crafts every frame with immersive tension, capturing the brutality and bravery of the battlefield.
The film refrains from unnecessary melodrama. Yet every soldier is etched with humanity: the Madhubala admirer, the aspiring Mohammed Rafi, the chocolate-loving sepoy, the cook famous for his awful soup. These well crafted vignettes, delivered by a strong supporting cast, breathe life into the narrative.
Farhan Akhtar anchors the film as Major Shaitan Singh portraying him as a quiet yet indomitable leader who guides his battalion into an unforgiving night. Among the supporting performances, Sparsh Wallia stands out as the innocent radio operator whose journey becomes the emotional core of the film, and the link to what unfolded that fateful night.
If the film falters, it is in its portrayal of the Chinese soldiers, who appear caricatured rather than nuanced adversaries. The soundtrack also misses an opportunity: instead of Lata Mangeshkar’s immortal Ae Mere Watan Ke Logon—sung in honour of the 1962 martyrs—the film opts for a weaker reinterpretation.
Yet 120 Bahadur remains a compelling, heartfelt tribute to bravery. It celebrates the valour of soldiers whose sacrifices shaped India’s history—and reminds viewers that some stories demand to be remembered.
