Make time for Gour Hari Dastaan. It’s an important story that must be heard.

…despite this film’s relatively restrained storytelling, sincere attempt at subtlety, and overwhelmingly wonderful intentions, it falters on a number of levels. Gour Hari Dastaan is a peculiar film — one that attempts to emulate a somewhat dated style of arthouse cinema that works only in bits and parts. The rest of the time, at best, it’s a bit of a snooze-fest; at worst, in some places, it’s so far off the mark that it almost works as parody.

In it’s honest storytelling, the deep significance and relevance of Gour Hari Dastaan stays with you. Especially since it’s an Independence Day release. Just look at how today, the flag for which Das fought is sold at traffic signals. “Paanch ka teen” anyone?

If you’re looking to enjoy a simple, offbeat and relevant film this Independence Day, Gour Hari Dastaan is your best bet. The film will make you think, while also treating you to some admirable performances. And that’s always a good thing.

On paper, the story of Gour Hari Das is compelling and moving. The film does not capture all this adequately. It’s repetitive and reverential, painting the protagonist with one brushstroke—as a saintly, deserving Gandhian.

At times the comments look adsorbed on the surface particularly the seemingly misogynistic journalist’s tirade against feminism. At times it seems Mahadevan is trying to put a halo behind Das which doesn’t go with Surendran’s writing and Pathak’s performance. But most of the times the observations are ingrained in the narrative. The most telling statement of the film comes when Das says that British India was better because at least he knew who the enemy was.

Gour Hari Dastaan is a film that deserves a wide release for staying so close to the truth yet never being flat or disengaging. The fact that the film was able to arouse the National Spirit of the audience without being ever manipulative or preachy makes it not just award-worthy but National-Award worthy.

While the understated and naturalistic acting is a relief from the usual ostentation, Gour Hari Dastaan is sluggishly paced, and fails to convey the monumentality of the protagonist’s mission. More thought has been expended on Rajiv’s asides on the commercialisation of the media and the aforementioned castrating feminists than on injecting narrative momentum into Das’s journey. In any case, his battle is half-won when he gains access to top officials. There is little left thereafter for Das – or the movie – to prove.