Hindi
The Attack On Ghazi…..Worth watching but….
MUMBAI: A lot of things seem to be going right for India and its people in various fields and, suddenly, people have learnt to take pride in achievements of her people in sports, space science, IT, coupled with a newly acquired sense of patriotism over past couple of years. This has been making many filmmakers cater to this new fervour with different genre films.
For instance, films on sports or the biographical films on sportspersons, which never worked earlier, have found favour with the audience to varying degrees, including one, Dangal, even proving to be a blockbuster. That is because these films are based on success stories. As for patriotism, few attempted them but the ones following the 1965, 1971 wars and one after the Kargil did work. The problem with this theme is that the spirit of patriotism is usually comes in phase.
The “Attack On Ghazi” is a film about the single submarine that the Pakistan Navy boasted of during the 1965 and 1971 wars India fought with that country. The submarine, Ghazi, acquired by the Pakistan Navy from the US in 1963, was destroyed during the India-Pakistan war of 1971, following which East Pakistan seceded from Pakistan to become Bangladesh. There is more than one version as to how this super powerful sub sank.
As the Indian Navy claimed it destroyed the sub, the counter version from Pakistan claims it was a case of accident and self-destruction.
The film, The Attack On Ghazi, takes the angle that the sub was destroyed by the Indian Navy.
Ghazi was sent to fight the East Pakistan insurgency, as Pakistan described it then, to enable other ships to carry on with the supply of essentials to the Pakistan army in the East. The only way to deliver these supplies was through sea route around India and Sri Lanka. However, the only impediment for Ghazi was INS Vikrant, India’s multipurpose giant of an aircraft carrier ship, which was blocking the sea route to East Pakistan. Ghazi was meant to destroy Vikrant. However, before it could come anywhere near Vikrant, Ghazi was destroyed.
Kay Kay Menon plays the role of an assertive commander of an Indian Navy submarine which has been ordered to recce the eastern coast of India during the 1971 war. It was not supposed to attack if an enemy ship was sited, just report to the Navy HQ. Menon does not like the idea. His second-in-command is Atul Kulkarni’s character, is in awe of his commander. Also on a special assignment on this sub is Rana Daggubati, who believes in going by the book and never crossing the line of command. Since Menon is a defiant officer, Daggubati is on the job to keep a check on him.
As Menon is the protagonist and Daggubati the antagonist, the early bit of this first ever Indian Navy war drama is about cold war and conflict of ideas between these two. Menon wants to torpedo the first enemy ship he spots because he has seen many jawans, including his young army man son, die because of the politicians’ apathy and indifference. Daggubati wants to wait for orders.
That is when the crew spots the mighty sub, Ghazi. Menon wants to torpedo it immediately while Daggubati is against the idea pending orders from high command. Their torpedo operates on two keys, one each with Menon and Daggubati.
The second half is all about maneuvers between Ghazi and the INS sub outsmarting and out-guessing each other’s positions as torpedo after torpedo is fired. The Ghazi, after all, is supposed to have their best commander in charge, and should not be easy to overcome. The Indian sub has fallen victim to the Ghazi-laid mines, yet the war between the two continues.
The Attack On Ghazi is noble effort to arouse the patriotism. What is wrong is that it attempts all that with a garbled screenplay; while this stuff may not have been seen on an Indian screen, there are quite a few films made in Hollywood about a ship in dire straits.
Since the Indian audience is unfamiliar with the real warfare, let alone underwater submarine duals, some distractions would have helped but there are none: the whole film is about two enemy ship commanders trying to outwit each other. Things get repetitive in the second half.
The underwater filming is not easy, and most of this film is set below the waves but the cinematography is praiseworthy. The direction, though imaginative, falls prey to the elongated script. In the name of music, the film has two mandatory patriotic numbers in the national anthem and Saarejahan se achha….
The performances are sincere and convincing from all concerned. Shining through the lot are Kay Kay Menon, Rana Duggubati, Atul Kulkarni and Rahul Singh. Nassar and Om Puri have brief roles.
Tapsi Pannu has been brought in to the cast for some glam but has really nothing to do; she does not even merit an introduction or a background story.
The Attack On Ghazi is an interesting film worth a look but such films need some encouragement in the form of reasonable admission rates. Otherwise, tough to attract audience as is the case so far with this film which has had poor opening.
Producers: Matinee Entertainment, PVP Cinema.
Director: Sankalp Reddy.
Cast: Kay Kay Menon, Rana Daggubati, Atul Kulkarni, Om Puri, Milind Gunaji, Tapsi Pannu, Nassar, Rahul Singh.
Hindi
New labour codes reshape rules for India’s media & entertainment sector
EY masterclass highlights unified framework, wage redefinition and expanded coverage.
MUMBAI: The new labour codes just rewrote the rulebook for India’s media and entertainment industry because when four old laws become four big codes, even the fine print needs a director’s cut. At the FICCI-EY Media & Entertainment Industry Report launch, EY partners Nirali Goradia and Lakshmi Ranganathan delivered a detailed masterclass on how the labour codes implemented in November 2025 are fundamentally changing the sector. The four consolidated codes Code on Wages, Code on Social Security, Industrial Relations Code, and Occupational Safety, Health and Working Conditions Code have replaced a fragmented set of central and state regulations that existed for decades.
The speakers explained that the new framework brings consistency across all types of establishments and workers. Previously, cine-workers, journalists and other media professionals were governed by separate, narrow laws. Now, definitions have been broadened: “audio-visual worker” now covers everyone involved in film, television, OTT, broadcasting and digital content creation, while “working journalist” extends to digital news platforms.
Key changes include:
- A uniform definition of wages, with at least 50% of total remuneration needing to qualify as wages for calculations like provident fund and gratuity.
- Expanded social security coverage for gig workers, platform workers and project-based freelancers.
- Unified working conditions, safety norms and leave entitlements.
- Simplified compliance through digital filings and a more principle-based approach.
Nirali Goradia emphasised that the codes aim to bring gig workers, freelancers and project-based talent under the social security net, though the exact contribution mechanism for platform workers is still being finalised. She noted that the intent is clear: no worker should be left out of basic protections such as provident fund, ESI, gratuity and safety standards simply because of the nature of their engagement.
Lakshmi Ranganathan highlighted that establishments in the sector must now carefully map their workforce—permanent employees, fixed-term contracts, freelancers and gig workers because different categories attract different obligations. She pointed out that gratuity vesting for journalists remains at three years, but the broader wage definition will impact calculations across the board. Organisations that previously computed contributions on basic salary (often 35-40%) will now need to move to at least 50% of total wages, potentially increasing costs by around 10% on a recurring basis. This change applies retrospectively for gratuity valuation as well, creating immediate balance-sheet implications for many companies.
The panel also discussed how the Occupational Safety, Health and Working Conditions Code has expanded the definition of “manufacturing process” to include digital printing and related activities. This brings more workers under safety and working-condition norms that were previously limited. Additionally, the codes introduce a clearer framework for fixed-term employment contracts, offering organisations flexibility while ensuring such workers receive benefits similar to permanent employees, including gratuity after one year.
One area still evolving is the treatment of platform and gig workers. The Social Security Code recognises this new category, but the exact funding mechanism and contribution structure are awaited. Industry experts expect a dedicated fund where platforms and employers will contribute, from which benefits can be extended to gig workers. Until the schemes are notified, organisations are advised to review their existing contractor and freelancer agreements to assess potential future obligations.
Both partners stressed the need for proactive steps. Companies should:
- Reclassify their workforce based on the new definitions of “employee” and “worker”.
- Review compensation structures to align with the 50 per cent wage threshold.
- Update contracts, especially for project-based and gig engagements.
- Reassess gratuity liabilities and payroll processes.
- Ensure compliance with expanded safety and working-condition requirements.
The speakers noted that while the codes bring much-needed unification and broader coverage, they also demand careful interpretation. The shift from highly prescriptive rules to a more principle-based regime means organisations must build internal frameworks to apply the codes consistently. This is particularly relevant for the media and entertainment sector, where project-based work, freelancers, short-term contracts and gig-style engagements are common.
In an industry that thrives on creativity and agility, the new labour codes are forcing a rewrite of the fine print. What was once a patchwork of rules is now a unified playbook and for media houses, the real plot twist will be how quickly they adapt to keep talent happy, costs manageable and stories flowing. The next few months, as states finalise their rules and schemes are notified, will be critical in determining exactly how this new framework reshapes hiring, compensation and workforce management across the sector.
