‘The Vaccine War’ Review: Nana Patekar and Pallavi Joshi Steer the Narrative

A timely commemoration of the endeavors by Indian scientists to develop a homegrown COVID-19 vaccine, “The Vaccine War” unexpectedly transforms into a vehement criticism of those who, during the vaccine’s development, raised concerns about the balance between speed and efficacy. These individuals often questioned the government’s dedication to scientific endeavors.

Drawing inspiration from Dr. Balram Bhargava’s insightful narrative in “Going Viral,” director Vivek Agnihotri skillfully brings to life the unwavering dedication and bravery of the former director of the Indian Council of Medical Research, along with his devoted team of scientists hailing from both the ICMR and the National Institute of Virology.

The Vaccine War Movie Details

The Vaccine War Movie Trailer

The film traverses a spectrum of conspiracy theories, ranging from questioning China and the World Health Organization’s reluctance to disclose the virus’s source to the attempts by prominent pharmaceutical companies to hinder India’s self-reliance in vaccine production.

However, in its pursuit of constructing a tangible antagonist within this real-life narrative, Agnihotri introduces Rohini Singh Dhulia (played by Raima Sen) as a rather one-dimensional villain. Dhulia, portrayed as a science editor, appears to intentionally sow doubts about the Indian vaccine, purportedly aiming to undermine the government with the aid of foreign sponsors’ toolkits.

Positioned almost as a symbolic punching bag in the storyline, she is subjected to labels like ‘terrorist’ and ‘swine,’ rendering the film increasingly reminiscent of a tool employed to suppress government critics.The film advocates for a separation between the country and the government, but it selectively emphasizes certain aspects.

Instead of highlighting how India’s robust vaccination program contributed to the development of a new vaccine using existing technology, the film implies that a newfound sense of purpose and a drive for self-reliance emerged within the system under the current administration.

It underscores how this shift freed the system from bureaucratic hurdles during the pandemic. As a borrowed metaphor, Agnihotri incorporates Vanraj Bhatia’s iconic theme, inspired by Rig Veda chants used in Shyam Benegal’s “Bharat Ek Khoj,” which is based on Jawaharlal Nehru’s “The Discovery of India,” to symbolize the dawn of a new era for India.

That being said, Agnihotri succeeds in several aspects, making the film an enthralling experience for the majority of its duration. Starting with a foreboding atmosphere, the film effectively conveys a sense of urgency and confidence within the scientific community. It immerses viewers in the captivating struggles waged against formidable microorganisms within laboratories while also shedding light on the constraints that Indian scientists operate under.

The portrayal of the everyday lives and sacrifices made by the scientists who accomplished extraordinary feats during the crisis evokes a profound emotional response. It appears that Bhargava’s character has been adapted on screen to align with Nana Patekar’s strengths, or perhaps Patekar was chosen to embody the relentless determination of the current administration in achieving their objectives.

Over the years, Nana Patekar has perfected the role of a stern leader who passionately expresses his patriotism. When he draws comparisons between a soldier and a scientist, it harkens back to his days in “Prahaar” (1991). The use of low-angle camera shots further enhances the overall impact.

In collaboration with Pallavi Joshi, who portrays NIV director Priya Abraham, Nana Patekar contributes to the film’s authentic emotional depth, ensuring that the human drama remains accessible amidst the scientific terminology.

These accomplished actors effectively engage the audience’s intellect and stir their emotions, with Bhargava leaning towards expeditious action while Abraham remains dedicated to empiricism and the team’s emotional well-being. It presents a captivating struggle between the dual objectives that scientists wrestled with during the early stages of the pandemic.

They receive strong support from Nivedita Bhattacharya, Girija Oak, and Mohan Kapoor, who portray real-life scientists Pragya Yadav, Nivedita Gupta, and Raman Gangakhedkar. Together, they craft a compelling human drama within the confines of science laboratories as Indian scientists embark on a mission to comprehend the lethal virus, isolate it, and ultimately conquer it.

The storyline is enriched with small accounts of resilience, such as the efforts to repatriate Indian laborers from Iran and the search for rhesus monkeys for research purposes. The sporadic inclusion of breathless sounds adds a chilling element to an otherwise unremarkable background score.

The screenplay takes a turn towards resembling an official press release in the second half, prompting the realization that Agnihotri’s primary objective is not combating the virus but crafting a narrative against the skeptics, which he refers to as the ‘ecosystem,’ by selectively highlighting specific headlines.

Posing uncomfortable questions is a fundamental aspect of the scientific mindset. In a particular scene, the cabinet secretary, portrayed by Anupam Kher, conveys to Bhargava that the Prime Minister emphasizes the primacy of science. However, intriguingly, Bhargava refrains from examining the scientific merits of the government’s initial response to the pandemic, which was met with skepticism and aimed at alleviating public fear of the virus.

Bhargava, known for his outspoken nature, refrains from inquiring about the methods employed by the former health minister to boost confidence within the scientific community. This includes his public appearance alongside the head of an Ayurveda company that claimed to offer a COVID-19 cure.

Moreover, it fails to acknowledge that vaccine hesitancy is not confined to Aligarh Muslim University; it is a worldwide phenomenon. Furthermore, it overlooks the fact that the shortage of oxygen was not solely the responsibility of the Delhi government.

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Over the past few years, ordinary people have not only been contending with the COVID-19 pandemic but have also been battling to navigate the infodemic that has gripped us simultaneously. While our scientists have developed vaccines to combat the former, the latter continues to propagate in various guises.Following a promising first half, “The Vaccine War” seems to contribute intelligently to this ongoing challenge.