Khelein Hum Jee Jaan Sey (Hindi)

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5.0/10
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4.5/10
Release Date:
December 03, 2010

1930, British India: In the province of undivided Bengal lies the sleepy, peaceful port of Chittagong. In this unassuming little town a revolution is about to begin; a revolution which will forever wake all of Chittagong and inspire the entire nation. April 18. 1 night. 5 simultaneous attacks. A band of 64 – 56 innocent yet fearless young boys, 5 defiant revolutionaries, 2 determined young women, and an idealistic leader Surjya Sen, a school teacher by profession. This group of 64 represents a little known chapter in history; a forgotten night that reigned terror on the British through a series of calculated attacks.

Khelein Hum Jee Jaan Sey is a true story of these forgotten heroes and the narrative takes us through every step of the action from the initial trepidation, to the thrill of the attack, to the underground movement, daring escapes and tragic captures, and most importantly, their undying legacy. A period thriller, the film is based on the book 'DO and DIE: The Chittagong Uprising' by Manini Chatterjee

1930, British India: In the province of undivided Bengal lies the sleepy, peaceful port of Chittagong. In this unassuming... Show More

CinemaaOnline

Editor   Dec 04, 2010 10:22  

One of the most crucial elements of reviewing an adaptation of a literary source or a true story on to celluloid is the ability to differentiate the base story from the film itself. The film is a container that carries the story and in these cases, the two become separate entities feeding off each other. A successful adaptation is one that balances the two entities well, thus retaining the fabric of the source while building upon it cinematically. Khelein Hum Jee Jaan Sey, Ashutosh Gowariker’s latest offering, based on the Chittagong Uprising of 1932, fails miserably at this balancing act, opting for grandiose cinematic values while ignoring some of the most crucial aspects of the base story. Thus, while it may satiate the yearnings of a grossly ill-exposed audience, purely on the strength of telling a lesser known story and the impeccable production values, it is by far the most dishonest film to have come from Gowariker.