Filmmaker Amitoj Mann’s recent film Sucha Soorma is based on a legendary figure in Punjabi history

Gurnaaz

Historical narratives have been the focus of the film industry since its inception, and Punjabi cinema has time and again embraced this evergreen trend. But it’s not just a chapter from the past, it’s about recreating a world with all its authenticity and appeal in place. Filmmaker Amitoj Mann recently brought to life Sucha Soorma, a legendary figure in Punjabi history known for his bravery and dedication to the cause of Independence.

Set in 1915, the film not alone explores its titular character but gives a peek into the rich cultural and historical context of that time. In a conversation with us, Amitoj Mann shares his insights on the challenges of historical storytelling, the evolving landscape of Punjabi cinema and the significance of connecting with one’s roots through film. Through his cinematic journey, he invites viewers to reflect on the past and its relevance in today’s world.

Amitoj begins by explaining the intent behind revisiting a piece of history that dates back over a century. He states, “Even if you observe world cinema, people are drawn to history. I began with old Punjab in my movie Hani in 2013, and since then there have been many films set in that era. People loved them because they wanted to connect with their past.”

He emphasises that while historical films can be challenging to create, they allow filmmakers to explore cultural nuances authentically. “There’s a sense of responsibility attached to them,” he notes, highlighting the detailed research required to accurately portray the era.

When asked about the effort that went into bringing Succha Soorma to life, Amitoj reveals, “We were actually set to release it in 2019, but due to some misunderstandings, and then Covid, it finally released now.” The film may have been shot in 45 days, but he highlights the importance of pre-production, noting that it took over a year-and-a-half to prepare for the film. “A good film is one which gives enough time to its preparation. Although most of the crew members are from the Malwa region, so we knew the cultural nuances — the way people talked, behaved, and so on, but there was still enough research involved,” he shares.

Entertainment remains the core of cinema, but the responsibility around its message is as central to every film. So, when it comes to the deeper message within Sucha Soorma, Amitoj says, “Not every movie needs to have a message—some are purely for entertainment...Our challenge was to balance authenticity with engagement.” He stresses the importance of portraying multiple perspectives in storytelling, stating, “We need to understand different perspectives without biases. And my effort was to show the characters in totality. No person is black or white, there is the grey too.”

Going by the event on which the movie is based, is Sucha a hero in his eyes? Amitoj responds affirmatively, saying, “He has certain dialogues, and there are answers given by Sucha...they tell you what the society at that point of time thought. I’m not justifying anyone but simply showcasing how things were and how they are.” He believes in allowing the audience to interpret the characters and their actions. “If the film can’t convey its message, there’s no point in me answering them here in an interview,” he adds.

And what goes into the casting process, particularly his collaboration with Babbu Maan that too after years. The director says, “When we started talking about this movie, someone suggested that Babbu would be perfect for the character of Sucha. I agreed because I could see that his mannerisms aligned with Sucha’s character.” Speaking warmly about their friendship and the ease of working together again, he simply says, “Past is past and so are the gaps.”

With decades of experience in both Bollywood and Punjabi cinema, a word about the home industry was inevitable. “I think we are maturing but there are still so many untouched subjects, like purana Punjab,” he notes. He points out the different audio levels used in Punjabi films compared to Hindi and English, calling for improvement in production quality. “Every little thing matters, and we need to educate ourselves on these details,” he urges. Amitoj reflects on the power of cinema to represent culture and influence perceptions. “If the cinema is bad, it reflects poorly on Punjabis everywhere... these cameras are like weapons that can cause large-scale damage, so they must be wielded with care,” he states.