On December 31, 1999, as the world braced to ring in the new millennium, a critical event unfolded that shook India to its core. Indian Foreign Minister Jaswant Singh found himself onboard a flight heading to Kandahar in Afghanistan, accompanied by three terrorists who had been released from Indian jails just hours earlier. This dramatic exchange was part of an arrangement to secure the release of 176 passengers and crew members aboard Indian Airlines flight IC 814, which had been hijacked eight days prior shortly after departing from Kathmandu.
The circumstances leading to this hijacking and the Indian government’s decision to acquiesce to terrorist demands have since become subjects of intense debate and interpretation, both in academic circles and popular culture. However, much like the proverbial story of the blind men and the elephant, perspectives on the incident have varied significantly. In a new series, writer-director Anubhav Sinha turns his lens toward this event, employing modern technology to unravel the complexities surrounding the longest hijacking incident in Indian aviation history, aiming to deliver answers and, perhaps, some solace.
Posted as a fictional work yet grounded in real-life events, Sinha’s action-packed series, “IC 814: The Kandahar Hijack,” presents a nuanced view of the hijacking episode, steering clear of redundancy. Drawing inspiration from “Flight Into Fear,” Captain Devi Sharan’s first-hand account, the series goes beyond the perspective of the heroic pilot to sketch a comprehensive picture of the episode. From the sluggish response in Amritsar to the revelation of RDX onboard, Sinha seeks to portray the geopolitical climate following the Pokhran nuclear tests and the Kargil War, succeeding in crafting a riveting narrative.
Multiple viewpoints unfold without dictating the audience’s opinions. For the Indian audience, the stakes include 200 lives and the stigma of being perceived as a ‘soft state.’ For Masood Azhar, the principal terrorist in the exchange, the entire subcontinent, including Afghanistan and Palestine, is seen as imprisoned. And for the frightened hostages, the desire to reunite with their families before the year 2000 remains paramount. The series respects these diverse perspectives, yet it isn’t shy about calling out hypocrisy and bigotry, all delivered in a style that blends humor with poignant social critique.
Anubhav Sinha has a talent for blending realism with drama, a skill he has showcased in previous works like “Article 15” and “Anek.” Here, with a stellar ensemble cast and abundant rich material, Sinha refines his portrayal of Indian democracy’s workings during the coalition era.
The series features brisk dialogues, pragmatic nationalism, internal conflicts, diplomatic tactics, and subtle games of one-upmanship among security agencies, all rendered with striking authenticity. The subtle distinctions between how different government officials in the Crisis Management Group react based on their roles, ranks, and social backgrounds are portrayed without any discord. Amid this war room action, Sinha highlights the crucial difference between a job and a duty, emphasizing that bureaucratic infighting during a crisis only hinders resolution. The series underlines that while Afghanistan may have multiple actors involved, India too possesses a multitude of voices that slowly coalesce for a common cause. Sinha deftly illustrates that while vilifying Pakistan may be media fodder, the geopolitical landscape is far more intricate, and sometimes, personal agendas overshadow political wisdom in the grand scheme of things.
Packed with content that prompts reflection and amusement, the series uses seemingly casual debates, such as those over coffee and tea, to convey deeper meanings. For instance, when the Captain cleans the toilet line, it symbolizes the call of duty.
. Similarly, when condescending officials discover Indian-style toilets in Kandahar, they find themselves squatting in Taliban territory, highlighting cultural clashes.
While constructing a solid procedural, Sinha also maintains the human drama, laced with sardonic humor. Remarkably, the series doesn’t exploit the tragic elements for emotional manipulation. The VFX team excels in recreating the period, seamlessly integrating archival footage and computer-generated imagery to deliver an immersive experience. With adept camerawork by Ewan Mulligan and Ravi Kiran Ayyagari, the series ignites the imagination. Despite the prevalence of hijacking themes in Hindi entertainment, this series manages to surprise with its unique blend of emotion and action.
Vijay Varma stands out as the courageous Captain Sharan Dev, embodying hope in dire circumstances. Despite limited physical scope for his performance, Varma’s expressive face conveys the array of emotions generated by the hijacking. His portrayal is heroic without being ostentatious, making him the heartbeat of the series.
Supporting Varma, Anubhav Sinha has curated a talented ensemble cast that forms the series’ intellectual force. Pankaj Kapoor excels as Foreign Minister Vijaybhan Singh, who orchestrates his diplomatic team. Manoj Pahwa, portraying a seasoned intelligence official, provides comic relief with his negotiation skills. His dynamic exchanges with Arvind Swamy, playing an impressive MEA official, are among the series’ highlights. Complementing them are skilled actors like Kumud Mishra, Naseeruddin Shah, Kanwaljeet Singh, Aditya Srivastav, and Dibyendu Bhattacharya, who contribute memorable performances. Female actors, notably Patralekhaa and Additi Gupta, also leave a strong impression.
However, the series does have its limitations. Despite drawing from real events, there is a noticeable silence on the roles of key government figures such as the then Home Minister and other critical members of the Crisis Management Group. This choice perhaps reflects the sensitive nature of the subject. The series keeps its focus on the Foreign Minister, with creative adaptation evident in the names of Indian politicians and bureaucrats, even as terrorists and Taliban leaders’ identities remain largely intact.
A weak point in the series is Rajeev Thakur’s portrayal of the chief hijacker, which fails to evoke the intended dread. Though the script calls for a maniacal misfit, his depiction lacks the necessary intensity. Additionally, the commentary on print versus electronic media, while timely, appears somewhat superficial in an otherwise methodical series.
“IC 814: The Kandahar Hijack” is currently streaming on Netflix, offering an insightful and gripping recount of a pivotal moment in India’s contemporary history.
