A Dark Chapter
In recent years, 1984 has become a popular subject for Punjabi filmmakers, with a few films tackling this sensitive chapter of Indian history. However, most of these films exploit emotions rather than confront the facts. 31st October doesn’t delve deeply into the darkest layers of human psychology that led to the horrific massacre against Sikhs, yet it does highlight core sentiments by staying close to real-life events. It’s far from flawless but effectively portrays the paradox between humanity and brutality.
The film begins with Davinder (Veer Das) starting his day with his two young sons and his wife, Tajinder (Soha Ali Khan). Meanwhile, Satwant and Beant, the bodyguards of then-Prime Minister Indira Gandhi, are preparing to assassinate her as retribution for Operation Blue Star. After Davinder drops his sons at school and heads to work, and Tejinder leaves their young daughter in a cradle before going to the market, the news of Indira’s assassination by her own bodyguards spreads like wildfire across Delhi—from barber shops to the corridors of power.
The assassination sets off a brutal wave of violence. Lookalikes of Jagdish Tytler and HKL Bhagat stir mobs to punish the “traitors” for killing the “Mother of the Nation.” In an instant, Delhi becomes a battleground. Gurdwaras are set aflame, shops are looted, and Sikh men in turbans are murdered in broad daylight, while the police remain indifferent.
Amidst the narrow lanes of Tilak Nagar—a mini-Punjab in Delhi—Davinder and his family are trapped, struggling to survive. When all hope seems lost, a glimmer of rescue appears. Hindu friends Pal (Deep Raj Rana), Tilak (Vineet Sharma), and Yogesh, Tajinder’s brother, journey across a burning Delhi, risking their lives to save the Sikh family. Their attempt to rescue the family, along with the fates of other family members, unfolds through an emotionally charged drama.
The story, written by Harry Sachdeva, Basant Kashyap, and Amit Tuli, is predictable and lacks pace, while the dialogues are average and the accents of the lead pair sound awkward. Director Shivaji Patil Lotan has worked to keep things together, though the story truly grips only in the last fifteen minutes. Patil succeeds in recreating Delhi of 1984, complete with walls painted with slogans like “Hum Do Hamare Do.” A scene where Gurjit hides in a drunkard’s room takes the narrative a step further, while a tense sequence where police inspector Nagesh Bhonsle interrogates the rescue team adds a sharp edge to the plot.
Unfortunately, Veer Das and Soha Ali Khan are miscast for such intense roles. Veer struggles to convey Davinder’s trauma and stumbles with Punjabi dialogue, while Soha’s attempt to play a Punjabi woman sometimes feels unconvincing. Daya Shankar Pandey, Deep Raj Rana, and Vineet Sharma, however, deliver strong performances. Nagesh Bhonsle captures the intensity of a corrupt police officer with conviction. On the other hand, Gurjit’s heavy-handed makeup feels excessive, and his expressions don’t match his dialogue delivery.
31st October deserves credit for its honest attempt to portray real-life events faced by one family in 1984. In the final dialogue, Soha sums up the story with the line, “32 saalon mein na insaaf mila hai, na milega!” (“In 32 years, there’s been no justice, nor will there ever be!”).
Two stars for staying true to the subject matter.
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