What happens when a writer’s words become a threat to the rulers of the day? Srijit Mukherji’s Emperor vs Sarat Chandra revisits a chapter in Bengal’s literary history when Sarat Chandra Chattopadhyay’s writing brought him into direct conflict with the British government.
Starring Tota Roy Choudhury as Sarat Chandra and Abir Chatterjee as Sabyasachi, the revolutionary protagonist of Pather Dabi, the film explores the controversy surrounding the novel, published in 1926. Its revolutionary themes soon caught the attention of the British administration, which banned the book in January 1927, branding it seditious.
But Emperor vs Sarat Chandra is not just about a book and its ban. It also traces the author's journey from writing much-loved social dramas such as Devdas and Borodidi to confronting the political realities of colonial India. His resistance to the ban, his appeal to Rabindranath Tagore for support and the debates that followed form the heart of the story.
It is a subject that offers plenty of scope for an engaging historical drama. And while Srijit gets several things right, particularly the casting and performances, the film is held back by a screenplay that takes too long to get to the heart of the matter.
Tota Roy Choudhury is easily the biggest reason to watch Emperor vs Sarat Chandra. The actor gets into the skin of Sarat Chandra, from his body language and diction to the way he carries himself in a room. He brings a distinct personality to the author, making him feel like a living, breathing individual rather than a historical figure recreated on screen. Somnath Kundu deserves a special mention for the makeup, which makes Tota’s transformation all the more convincing.
Sarat Chandra was known as Kathashilpi (wizard of words), and the film’s dialogues offer a glimpse of why he earned that title. He has a sharp response for almost everyone, whether they come bearing praise or criticism. His wit is effortless, his arguments are pointed, and they are delivered with confidence.
One of the more engaging aspects of the first half is Sarat Chandra’s deep admiration for Rabindranath Tagore. Sanjay Nag plays Tagore, with Joy Goswami lending his voice to the poet. Their conversations about literature are a pleasure to watch, offering glimpses of two towering figures from Bengal’s cultural history and their differing temperaments.
The relationship turns sour when the British government bans Pather Dabi. Sarat Chandra hopes Tagore will support his protest, but the latter refuses to back him. For an author who holds the poet in such high regard, the disappointment cuts deep. Srijit captures the emotional fallout well.
Meanwhile, Abir holds his ground as Sabyasachi, the fictional revolutionary created by Sarat Chandra. Playing Sabyasachi comes with its own challenge. Uttam Kumar's portrayal of the revolutionary remains a familiar reference point, and comparisons with Abir Chatterjee are bound to follow.
Abir, however, does not seem interested in recreating that earlier performance. He brings his own interpretation to the character, giving Sabyasachi the conviction and intensity expected of a revolutionary who challenges the colonial establishment.
Rik Chatterjee as Apurba and Divyani Mandal as Bharati make their presence felt in supporting roles. Both help bring the world of Pather Dabi to life.
But Emperor vs Sarat Chandra leaves you wanting. The controversy surrounding Pather Dabi is the film’s central conflict, yet it takes a considerable amount of time for the story to get there. Much of the first half is devoted to establishing Sarat Chandra’s personality, personal life, losses and literary journey. The idea is to show how a writer best known for his sensitive portrayals of society eventually turned towards political fiction.
That context matters, but the film spends so much time setting up the character that the main conflict loses momentum. By the time the ban and its repercussions take centre stage, the audience has already waited a long while for the story to gather pace.
At times, the film seems more interested in establishing Sarat Chandra’s greatness than in examining the controversy that brought him into conflict with the colonial government. A tighter screenplay could have done justice to both.
The biggest drawback in the film is the use of generative artificial intelligence to recreate scenes from colonial India. The visuals feel out of place, disrupting the period atmosphere that the rest of the film attempts to establish.
There is also room for a deeper examination of the political battle itself. The British government’s decision to ban a novel for its revolutionary ideas raises questions about censorship, freedom of expression and the power of literature to challenge authority. These are themes that remain relevant even today.