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Bhuj which takes its cue from a real event in 1971 fails on both counts.
It is emotionally vacant and limp and technically resembles a cancelled mobile game instead of a movie.
At the peak of the Bangladesh Liberation War India intervened by rallying troops to the east.
This left Bhuj with its strategically important airbase open to attack. Pakistani Sabres bombed the airbase to smithereens.
With a siege imminent, squadron leader Vijay Karnik the base commanding officer mobilised 300 women from a nearby village and rebuilt its landing strip.
Their brave venture, completed in just 72 hours proved pivotal in the war and Karnik was promoted to Wing Commander in 1985.
That at least is the real life story of Bhuj. On movie director Abhishek Dudhaiya plays fast and loose with facts needlessly embellishing what is already a dramatic and inspiring story.
The opening hour is dizzying enough to cause motion sickness. It flits from a massive airstrike to haphazard character intros and back to more airstrikes.
Ajay Devgn, who essays Vijay Karnik looks positively lost. Told that 40 of his men are dead he looks momentarily pained then simply orders the area be cleared.
Reading the synopsis of Bhuj I expected the 300 women of Madhapur village to anchor the story.
But the film treats them as a sideshow, focusing instead on a parallel campaign to stop the approaching Pakistani army.
Nora Fatehi draws the shortest straw as an Indian spy. Her character Heena is caught across borders instead of being executed right away she is taken to a religious gathering and stoned to death.
Dudhaiya is not done hammering though and we get other glimpses of the film’s warped politics.
Animal protection is brought up twice: first when Ranchhod Pagi kills a bunch of soldiers over his cattle, second when Sunderben steps up to save a cow.
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The battle sequences are a mess. Instead of gradually building up to a conflict we were pummeled with action throughout.
The movie is always aiming for maximum impact which only guarantees no impact.
Some of the war strategies are smart while others look dubious.
At one point Karnik surrounded by enemy bombs strings them together and lights a match, a technique better suited for Diwali celebrations than the battlefield.
Even stranger is a scene where Ranchhod dashes across the trenches at an incoming tank.
He leaps right on it, and you marvel at how Dutt’s intricate dhoti stays in place.
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