Author Harinder Sikka has condemned the film adaptation of his novel 'Calling Sehmat,' calling the director's vision a grave misjudgment.
Sikka's criticism highlights a growing tension between the dramatization of espionage for cinema and the actual experiences of intelligence operatives. By challenging the portrayal of India's secret service, Sikka seeks to redirect public attention toward the authentic roles played by unsung spies.
In an interview with India Today host Pooja Shali and through posts on X, Sikka discussed his latest spy thriller, 'The Chabi Master.' During these discussions, he revisited his disappointment with the 2018 film 'Raazi' [1]. Sikka said that choosing Meghna Gulzar to direct the film was his "gravest misjudgment."
He further criticized the production's impact on the national image, stating, "That film did India dirty." The movie was based on his novel 'Calling Sehmat,' which was first published in 2008 [2]. While 'Raazi' received praise from critics and viewers as one of the best spy thrillers in India, Sikka maintains that the film betrayed the essence of his original book.
Beyond the controversy, Sikka emphasized the critical importance of women in the field of intelligence. He said that women agents are often more effective in intelligence operations than their male counterparts. This focus on gender dynamics in espionage serves as a central theme in both his previous works, and his new novel.
Sikka used the platform to advocate for a more accurate representation of the Research and Analysis Wing (RAW) and the operatives who risk their lives. He said that the contributions of these individuals, particularly women, often remain overlooked by the public and mischaracterized by popular media.
“"Choosing Meghna Gulzar to direct the film was my gravest misjudgment."”
The dispute between Sikka and the creators of 'Raazi' underscores the friction between artistic license in filmmaking and the demand for historical or professional accuracy in the spy genre. Sikka's public pivot from the film's success to a critique of its loyalty to the source material suggests a desire to reclaim the narrative of Indian intelligence, shifting it away from cinematic tropes toward a more grounded portrayal of operative efficacy.
