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Sky Force

Farhad Dalal Founder
By-
Farhad Dalal
Rating
3.5 Star popcorn reviewss

Introduction

As they say about time, it always changes! And this may well be the year of Akshay Kumar afterall. Going by its terribly cut trailer that seemed like a rip-off of the Hindi film Fighter (2024) while being packaged as a true event, I was skeptical while stepping into the new Hindi film Sky Force. For starters, it seemed like another one of those neighbour bashing films that honestly, I am exhausted for completely. Secondly, its plot seemed way too generic from its terrible trailer cut that did more disservice to the film than it ought to have. And lastly, the limitation of the genre was also a lurking danger in the corner. Yes, this film did have all the trappings of the genre – a slow-mo Royal Enfield sequence involving its two protagonists, some fighter planes with high-octane combat shots, a little bit of neighbour bashing, A B-Praak number that plays out at a crucial and stereotypical juncture in the screenplay, and well Akshay Kumar who has mastered this genre. Despite that, the one thing that did shine in Sky Force was its grounded take on the drama surrounding the Air Force, along with its willingness to tell a human story at the end of the day. Even in its commercial avatar, the drama did enough to stick to its source material while delivering a near-knock out of a film that does allow a plethora of emotions to land.

 

Story & Screenplay

Based on a true set of incidents, the beats of Sky Force are pretty familiar that are epitomized with its theme highlighting the strained relationship between Post Independent India and its neighbour who have been at loggerheads with each other since. The little background of the wars stalls in 1971 wherein you are witness to a combat mission that ends with the capture of a prisoner in war. A small exchange reveals an extended flashback that dates itself to 1965, the previous occasion that marked a clash between India and its neighbour, Pakistan. The setup of events in the flying academy/base is similar to that of Fighter(2024), but the soul of SkyForce is starkly different from the former. While the core of Fighter was the camaraderie that the group of fighter pilots shared with each other, Sky Force focuses on the relationship between Ahuja ‘Tiger’ (Akshay Kumar) and Vijaya ‘Tabby’ (Veer Pahariya). Their relationship extends outside their work environment too – Tiger sees his little brother in Tabby who had lost his life whilst on duty, so much so that he has no qualms of inviting him and his pregnant wife to his home. Yes, Tabby is rebellious and often shown to be pushing his boundaries at work but it is Tiger who always has his back.

One small fleck of criticism that I had with the drama was that the film lacked an emotional connect with respect to the families of the characters concerned. And this did stem from the fact that the writing had an unwavering focus on events unfolding at the flying base who does cater to a variety of activities against the backdrop of the war. Luckily, the planning and execution of the recce events along with the right use of technical jargons is enough to engage you in the drama that doesn’t necessarily resort to jingoism in any way. In fact, the politics addressed in the drama is an extension of the bureaucratic stance that India has maintained in the Geo-political setup even today – we won’t take the first step. This though, is a trigger for an entire sequence going in a near-fatal manner, until it isn’t before a counter-attack that transpires, against the backdrop of a B-Praak number. Familiar beats yes, but still very engaging.

One of the interesting character remains Tiger through and through who eventually takes centerstage after an interesting halfway mark that sees Tabby being reduced to a backup. It was almost like Yashasvi Jaiswal almost guaranteed a slot on the bench even as the rest of the team makes it to the eleven. And just when you expect that the entire second hour will be dedicated to an extended counter-attack sequence (with the tagline, India Andar Ghus Ke Maarega…tch tch), the story revolves around Tiger who transforms into a fulcrum that further grounds this tale. On one end, he is seen consoling Tabby’s wife who has delivered a baby girl and on the other end his search for Tabby continues, which doesn’t include taking law into his own hands and going across the border, but a more grounded path of pushing his case with the bureaucrats (doubling up as a littke commentary of sorts). In this phase, you are also witness to a little dignified camaraderie with Ahmed (Sharad Kelkar) who seems to hold a secret while being duty-bound for his country (Pakistan). There is genuinely a dignified approach to storytelling in a genre that is designed to be jingoistic in every sense.

The shift from a high-octane actioner to a human story is evident given how the investigative procedural is systematic, and doesn’t resolve itself in a period of days. In fact, the drama spans over years of longing to eventually reach its conclusion – a little drawback being that the events leading up to the finale are passed off as a homage in order to keep pace with its tight runtime. But the reveal, although on expected lines is a good one while enforcing you with the spirit of patriotism in balanced measures, while mildly scoring with the human emotions at the end too. This was a refreshing angle given its dignified approach that did not lower the stature of any of its stakeholders in particular, while delivering an emotionally heavy finale that definitely tugs you with its string of emotions. What seemed like a rip-off of Fighter to begin with turned out to be a better product in the process!

Dialogues, Music & Direction

The dialogues are a bit of a mixed bag with slight jingoistic shades infused amidst a balanced narrative to spike the cinematic experience. But luckily, all of the lines feel very much a part of the universe although the high pitch in a few scenes could have been lowered for a more cerebral experience (I am told that Airforce Pilots might hold aggression within but the same is buried deep within their calm demeanor, so a scene involving Tiger addressing his group with energy is good cinematically but incidently far from reality). The music is good but one thing that stood out for me is the length of the songs which are deliberately shortened such that, you are familiarized with the commercial tropes of the drama but never disconnected from it. The BGM is pulsating and it wonderfully enhances the action combat sequences that are in turn, expertly choreographed. The VFX is pretty solid too, something that I didn’t seem to think whilst watching its trailer.

The cinematography comprises of frames that make you a silent spectator amidst the chaos around in a scene, while always allowing you to stay connected to its characters. The colour grading does create an ambience of the 1960s which also allowed you to invest in the era. The editing is watertight (at times too tight) with a deliberate attempt to keep the length of the film in check. While the human emotions are marginally compromised, it still ensures an engaging watch. Directors Sandeep Kewlani and Abhishek Kapur manage to pull off a stunning heist considering how average the trailer cut looked. There is definitely purpose in their direction, using live locations (or atleast film sets as opposed to green screens) that adds depth to the drama. They score with the characterization of the two main protagonists whilst creating an authentic buildup of the events unfolding in their world that are equally engaging, thereby ensuring that the drama delivers a knock-out punch. This, while also willing to go an extra mile to tell a human tale as opposed to an action entertainer reeking of jingoism.

Performances

The performances are pretty good by the members of the cast even though not all characters are privy to a character arc. Ritik Ghanshani as Panther, Rama Krishna as Rhino, Rajat Kaul as Bull and Gurpal Singh, all of them have a stellar screen presence and make their presence felt. Varun Badola as Narang is commendable and does a fine job. Manish Chaudhari as Lawrence delivers a commanding and dignified performance. Sara Ali Khan as Geeta is restrained and you do notice a marked improvement in her craft from her last outing, and she does a pretty good job. Nimrat Kaur is splendid and has a more practical outlook with respect to her character, a trait that makes her standout. Soham Majumdar is such a brilliant actor, and I was amazed at the amount of emotions that he subtly brings to the table in a particular scene. This, while he balances his traces of comedy (true to his character) is a pleasant manner. Sharad Kelkar as Ahmed is wonderfully understated while delivering a sincere and an earnest act. Veer Pahariya as Tabby is a little stiff in his debut outing but luckily, the actors around him do help him sail through her with his performance ending up as being decent. There is a lot of scope for improvement and hoping that he improves his craft from here – particularly his body language and dialogue delivery. Akshay Kumar as Tiger (no Bade Miya Chhote Miyan reference intended) is yet again in top form. You just know that Akshay Kumar has turned up, when you witness the rhythm of his dialogue delivery. He has a towering personality onscreen and he puts it to good use, even while showcasing his subdued and vulnerable side with a good amount of emotions. He was tremendous and quite honestly, the life of Sky Force!

Conclusion

Sky Force is a roaring actioner boasting of solid performances that doesn’t necessarily resort to the standard tropes of the genre, in a drama that makes for a pleasantly engaging watch. Available in a theatre near you.

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