Twenty-five years on, and Lagaan still feels like an event. The rumble of Ghanan Ghanan as villagers wait for rain, the longing of O Rey Chori, the stirring spirit of Mitwa, the infectious energy of Radha Kaise Na Jale and the triumphant crescendo of Chale Chalo continue to evoke the emotions they did in 2001. Add to that a gripping underdog story, memorable characters and of course, a cricket match that keeps the audience on edge, and it’s easy to see why Lagaan remains one of Hindi cinema’s most cherished films even after 25 years.
Filmmaker Prerana Gopal believes Lagaan’s legacy lies in the simplicity of storytelling, beyond strategic casting, PR plans and the predicaments of releasing a film. “It is the coming together of technicians, talent and like-minded people working in service of the story,” she says, adding that every creative department worked towards a common vision – a big lesson for filmmakers today.
Led by Aamir Khan and helmed by Ashutosh Gowariker, Lagaan featured an ensemble cast, including Gracy Singh, Paul Blackthorne and Rachel Shelley. Bankrolled under the banner of Aamir Khan Productions, the film was the third Indian entry to earn an Academy Award nomination for Best International Feature Film, ultimately losing to Danis Tanovic’s No Man’s Land.
Digital creator Pavan D agrees that ambition is one of the film’s defining qualities. “I don’t think commercial cinema ever moves on from a genuinely good film. Audiences always make room for fresh stories,” he says. Looking back, he believes Lagaan trusted audiences to embrace an unconventional story at a time when many would have considered it risky.
Even in an era dominated by short form content, Lagaan finds its hold firm. Digital storyteller and podcaster Kartik Krishnaswamy feels the film’s global appeal has survived viewing habits because of one thing. “The themes are more relevant now than ever. Cricket continues to be a favourite among youth even today,” he says, adding that international viewers embraced its distinctly Indian identity and Rahman’s music.
Krishnaswamy credits the film with showing audiences that mainstream Hindi cinema could be entertaining and intelligent, while its Oscar journey proved Indian stories didn’t have to become ‘western’ to earn global appreciation. Gopal also points to the film’s women as one of its understated strengths. Elizabeth Russell (Rachel Shelley), she says, is a woman with education and conviction, while Gauri (Gracy Singh) keeps a balance between tradition and a free-spirited persona. Yashoda Mai (Suhasini Mulay) anchors the village with wisdom and resilience, and the women support the struggle without being portrayed as subordinates. Even if Lagaan were made today, she would leave those characters largely unchanged. “The female characters had enough agency,” she says.
From a film studies perspective, Sathyaprakash MR, professor, Journalism and Mass Communication, Kuvempu University, considers Lagaan an important text. “The songs continue the larger narration rather than acting as an escapade,” he says, adding that the film effortlessly puts together a folk-like historical tale with themes of colonialism, nationalism, caste and collective resistance, sans losing it appeal.
According to him, the movie encourages filmmakers to think bigger in terms of production scale plus storytelling, as he feels ‘Indian filmmaking turned a new page after Lagaan’. He says, “It inspired filmmakers to adopt new production trends and raised the bar for meticulous artwork and large-scale story.”
Rewind & Refresh
Even after repeated viewing, certain scenes continue to linger. For Pavan, it is the tense dinner sequence between Captain Russell and Rajaji, calling it ‘a masterclass in directing a conversation’ because of its camera placement and movements. Gopal returns to the final ball, where Captain Russell celebrates the catch before the camera reveals he has stepped beyond the boundary rope. To her, the scene was pure cinema with every creative department working together to deliver one of Hindi cinema’s most memorable climaxes.