On August 28, 1965, a&nbsp;group of Indian soldiers led by Major Ranjit Singh Dayal captured the strategic Haji Pir pass that Pakistan had been using to infiltrate the Kashmir valley. They called it operation Gibraltar. However, the Indian army decided to put a stop to that.

In the run-up to the 1965 India-Pakistan war,&nbsp;India registered the first win after a 37-hour battle in hostile terrain. Thirteen days later, India sealed the victory. It captured Kahuta on September 10 ending Pakistani resistance.

This operation was the Indian army's most successful military action during the entire war of 1965, but within months, India gave up the prize.

In the Tashkent agreement of 1966, India returned the Haji Pir pass to Pakistan. Later on January 10,&nbsp;1966, right after signing the Tashkent declaration with President Ayub Khan of Pakistan, India's then Prime Minister Lal Bahadur Shastri died. Had the pass been held by India, the distance from Jammu to Srinagar through Poonch and Uri would have been reduced by over 200 kms.

Once Pakistan got it back, it resumed infiltration into Jammu.

Lal Bahadur Shastri returned the Haji Pir to save Akhnoor in the bargain. Shastri bartered for Pakistan's withdrawal from the Chamb sector. Pakistan was already stationed in the sector 4, kilometeres away from Akhnoor and was all set to wrest control of the Jammu-Srinagar highway via Akhnoor.

On August 28, 1965, a group of Indian soldiers led by Major Ranjit Singh Dayal captured the strategic Haji Pir pass that Pakistan had been using to infiltrate the Kashmir valley.

On August 28, 1965, a group of Indian soldiers led by Major Ranjit Singh Dayal captured the strategic Haji Pir pass that Pakistan had been using to infiltrate the Kashmir valley. They called it operation Gibraltar. However, the Indian army decided to put a stop to that. In the run-up to the 1965 India-Pakistan war, India registered the first win after a 37-hour battle in hostile terrain. Thirteen days later, India sealed the victory. It captured Kahuta on September 10 ending Pakistani resistance. This operation was the Indian army's most successful military action during the entire war of 1965, but within months, India gave up the prize. In the Tashkent agreement of 1966, India returned the Haji Pir pass to Pakistan. Later on January 10, 1966, right after signing the Tashkent declaration with President Ayub Khan of Pakistan, India's then Prime Minister Lal Bahadur Shastri died. Had the pass been held by India, the distance from Jammu to Srinagar through Poonch and Uri would have been reduced by over 200 kms. Once Pakistan got it back, it resumed infiltration into Jammu. Lal Bahadur Shastri returned the Haji Pir to save Akhnoor in the bargain. Shastri bartered for Pakistan's withdrawal from the Chamb sector. Pakistan was already stationed in the sector 4, kilometeres away from Akhnoor and was all set to wrest control of the Jammu-Srinagar highway via Akhnoor.

Operation Gibraltar: The day when Pakistan infiltrated deep within India through Haji Pir pass

The Tashkent Files sets itself up as political thriller masquerading as a murder mystery. The latter is never solved, but the film succeeds beyond expectations.&nbsp;

Vivek Ranjan Agnihotri’s scripting and directorial skills dispense high drama, in addition to an engrossing audience experience, without really uncovering new facts or theories about Shastri’s death. With great lines, flattering lighting, camera angles, exclusive spotlights and close-ups, Agnihotri extracts a power-packed performance from each of his actors. It is a sort of Indianized 12 Angry Men closed committee, rather than courtroom, drama. To that extent, Tashkent Files is as much a performers’ as viewers’ delight, offering much needed respite from the oppressive star system that dominates Bollywood.&nbsp;

Mithun Chakraborty as Shyam Sunder Tripathi, the ageing politician as comeback artist, is especially riveting. In the film Tripathi serves as the head of the Inquiry Commission on Shastri’s death, mirroring the Raj Narain Committee set up for precisely such a purpose by the Janata Government in 1977. Sadly, few today remember this committee or what happened to its findings; all records related to it are “untraceable,” suggesting one of many deliberate cover-ups on Shastri’s death. Anuj Dhar, who appears as one of the experts in the film, is also key source. His forthcoming expose, Your Prime Minister is Dead, is sure to ride on the film’s publicity and success.&nbsp;

Naseeruddin Shah as PKR Natrajan, Tiwari’s sinister, cynical, manipulating ruling-party opponent and Shweta Basu Prasad, the intrepid reporter, Raagini Phule, are not less memorable. Led by “deep throat” (voiced by Agnihotri himself), the mysterious caller who gives her a birthday scoop to investigate, Prasad ends up losing her livelihood as an investigative journalist, but is born-again in the dirty game of politics. Stressing her citizen’s right to know the truth, she is the viewer’s entrée and identification object. Agnihotri, with a stroke of genius, hits on this ruse to engage the youth of the nation in a subject of arguably little contemporary value. Pallavi Joshi makes an understated if embittered Aiysha Ali Shah, the beedi-smoking “sarkari” historian, now wheelchair-bound, almost reduced to a has-been. Mandira Bedi as the NGO lady, Indira Joseph Roy, is credible as position-shifting time-server, always high-sounding but of questionable morals. The only character who makes little sense is the scientist Gangaram Jha, revealed to be communalist and denounced as racist in the movie. Though well-played by Pankaj Tripathi, there is little that is “scientific” to his persona—a scripting, though not casting error, perhaps?&nbsp;

The action shifts from Delhi to Tashkent, where a rather unconvincing reporter-meets-spy series of episodes is enacted. Shweta, jobless and frustrated for want of leads, prays twice to Shastri’s spirit, at his memorial in Tashkent and at Vijay Ghat, New Delhi. What does she gain, however? The viewers’ sympathy and good grades in her five-step initiation into the murky deep state underworld led on by her unknown telephonic source. Why doesn’t she ask to trace the mobile number, one wonders. But such questions, if carried to their logical end, would deter our appreciation. The film, in fact, also glaringly glosses over the man who might have poisoned Shastri, the cook Jan Mohammad. Unlike the other witnesses such as his physician Dr Chugh, Jan Mohammad lived long after the event. He was not only interrogated by the Soviet Police, but went on to serve in the Rashtrapati Bhawan, New Delhi. This is one of the loose ends, if not false leads of the film.&nbsp;

Ultimately, however, the real purpose of the film is not to try to solve the “unsolvable” mystery of Shastri’s death. Instead, it is to reflect on the nature of politics and unknowable deep state actors. At one point Tripathi says, the only truth of politics is that it accepts no truth. That is why, when the background score shifts from “sab chalta hai” (anything goes) to “sach chalta hai” (truth sells), we are not entirely convinced. Tripathi reveals that the real purpose of the Commission is not to shed new light on Shastri’s death, but to give him a “mudda,” a pretext, to fight elections.&nbsp;

If Shastri was murdered, who would be the immediate beneficiary? Wouldn’t it make sense for the Soviets, especially during the height of the Cold War, to gain control over India by engineering to elevate its own candidate as India’s supreme leader? The Mitrokhin papers, with which the movie begins, claim that the Indian state was heavily during Mrs Gandhi’s era. But these have been in the public domain for over a decade. Though Shastri’s death hasn’t become an election issue, the film’s success at the Box Office has established Agnihotri as a credible Bollywood-breaking breakout figure, an independent film maker who, because of his self-created fan-following, cannot be ignored.&nbsp;

(This article was originally published on The DNA. Read the <a href="https://www.dnaindia.com/analysis/column-the-unsolved-puzzle-of-lal-bahadur-shastri-s-death-2741298">original article</a>)

(Disclaimer: The opinions expressed above are the personal views of the author and do not reflect the views of ZMCL.)&nbsp;

The Tashkent Files sets itself up as political thriller masquerading as a murder mystery. The latter is never solved, but the film succeeds beyond expectations. Vivek Ranjan Agnihotri’s scripting and directorial skills dispense high drama, in addition to an engrossing audience experience, without really uncovering new facts or theories about Shastri’s death.

The Tashkent Files sets itself up as political thriller masquerading as a murder mystery. The latter is never solved, but the film succeeds beyond expectations. Vivek Ranjan Agnihotri’s scripting and directorial skills dispense high drama, in addition to an engrossing audience experience, without really uncovering new facts or theories about Shastri’s death. With great lines, flattering lighting, camera angles, exclusive spotlights and close-ups, Agnihotri extracts a power-packed performance from each of his actors. It is a sort of Indianized 12 Angry Men closed committee, rather than courtroom, drama. To that extent, Tashkent Files is as much a performers’ as viewers’ delight, offering much needed respite from the oppressive star system that dominates Bollywood. Mithun Chakraborty as Shyam Sunder Tripathi, the ageing politician as comeback artist, is especially riveting. In the film Tripathi serves as the head of the Inquiry Commission on Shastri’s death, mirroring the Raj Narain Committee set up for precisely such a purpose by the Janata Government in 1977. Sadly, few today remember this committee or what happened to its findings; all records related to it are “untraceable,” suggesting one of many deliberate cover-ups on Shastri’s death. Anuj Dhar, who appears as one of the experts in the film, is also key source. His forthcoming expose, Your Prime Minister is Dead, is sure to ride on the film’s publicity and success. Naseeruddin Shah as PKR Natrajan, Tiwari’s sinister, cynical, manipulating ruling-party opponent and Shweta Basu Prasad, the intrepid reporter, Raagini Phule, are not less memorable. Led by “deep throat” (voiced by Agnihotri himself), the mysterious caller who gives her a birthday scoop to investigate, Prasad ends up losing her livelihood as an investigative journalist, but is born-again in the dirty game of politics. Stressing her citizen’s right to know the truth, she is the viewer’s entrée and identification object. Agnihotri, with a stroke of genius, hits on this ruse to engage the youth of the nation in a subject of arguably little contemporary value. Pallavi Joshi makes an understated if embittered Aiysha Ali Shah, the beedi-smoking “sarkari” historian, now wheelchair-bound, almost reduced to a has-been. Mandira Bedi as the NGO lady, Indira Joseph Roy, is credible as position-shifting time-server, always high-sounding but of questionable morals. The only character who makes little sense is the scientist Gangaram Jha, revealed to be communalist and denounced as racist in the movie. Though well-played by Pankaj Tripathi, there is little that is “scientific” to his persona—a scripting, though not casting error, perhaps? The action shifts from Delhi to Tashkent, where a rather unconvincing reporter-meets-spy series of episodes is enacted. Shweta, jobless and frustrated for want of leads, prays twice to Shastri’s spirit, at his memorial in Tashkent and at Vijay Ghat, New Delhi. What does she gain, however? The viewers’ sympathy and good grades in her five-step initiation into the murky deep state underworld led on by her unknown telephonic source. Why doesn’t she ask to trace the mobile number, one wonders. But such questions, if carried to their logical end, would deter our appreciation. The film, in fact, also glaringly glosses over the man who might have poisoned Shastri, the cook Jan Mohammad. Unlike the other witnesses such as his physician Dr Chugh, Jan Mohammad lived long after the event. He was not only interrogated by the Soviet Police, but went on to serve in the Rashtrapati Bhawan, New Delhi. This is one of the loose ends, if not false leads of the film. Ultimately, however, the real purpose of the film is not to try to solve the “unsolvable” mystery of Shastri’s death. Instead, it is to reflect on the nature of politics and unknowable deep state actors. At one point Tripathi says, the only truth of politics is that it accepts no truth. That is why, when the background score shifts from “sab chalta hai” (anything goes) to “sach chalta hai” (truth sells), we are not entirely convinced. Tripathi reveals that the real purpose of the Commission is not to shed new light on Shastri’s death, but to give him a “mudda,” a pretext, to fight elections. If Shastri was murdered, who would be the immediate beneficiary? Wouldn’t it make sense for the Soviets, especially during the height of the Cold War, to gain control over India by engineering to elevate its own candidate as India’s supreme leader? The Mitrokhin papers, with which the movie begins, claim that the Indian state was heavily during Mrs Gandhi’s era. But these have been in the public domain for over a decade. Though Shastri’s death hasn’t become an election issue, the film’s success at the Box Office has established Agnihotri as a credible Bollywood-breaking breakout figure, an independent film maker who, because of his self-created fan-following, cannot be ignored. (This article was originally published on The DNA. Read the original article) (Disclaimer: The opinions expressed above are the personal views of the author and do not reflect the views of ZMCL.)

The unsolved puzzle of Lal Bahadur Shastri’s death

Two days before its theatrical release, Vivek Agnihotri's new film 'The Tashkent Files' has landed in trouble over its content. Based on former PM Lal Bahadur Shastri's death, <a href="https://www.wionews.com/entertainment/the-tashkent-files-trailer-has-mithun-chakraborty-naseeruddin-shah-question-lal-bahadur-shastris-mysterious-death-205705">the film </a>attempts to delve deeper into the cause of his death at Tashkent, Uzbekistan in 1966 hours after the signing the Tashkent Declaration.&nbsp;

Shastri's grandson Vibhakar Shahstri has appealed for a stay order on the release of the film alleging that the film is an 'attempt &nbsp;to create unwarranted and unnecessary controversy.' The film is scheduled to release on 12th April.&nbsp;

A notice that has been sent to Agnihorti reads,"It is understood that an attempt has been made to create unwarranted and unnecessary controversy, propaganda surrounding the death of Late Lal Bahadur Shastri, former PM of India who had died a natural death and which has been successful to an extent post the release of the trailer of the film." 
While speaking to a news channel, filmmaker Vivek Agnihotri, stated that Shastri was coerced by the "top family of the Congress party" to stop the release of the film.&nbsp; 
"It's been happening for quite some time. They have been bullying me and threatening me on social media, and I have also taken help from the Maharashtra government. Yesterday, I received a legal notice from senior Congress member Vibhakar Shastri, who also happens to be the grandson of Lal Bahadur Shastri, to stop the movie saying that whatever is shown in the movie is not true," Vivek said.&nbsp;

"I have heard from the horse's mouth that he has been coerced by the top family of the Congress party to serve it on me because if they serve it doesn't look correct for them, which will make them look like a guilty party. This is despite that he came for the screening of the movie," he added.&nbsp; 
The filmmaker claims that Vibhakar Shastri had praised the film when he had watched it in Delhi on 7th April and later got influenced by members of the Congress party to send a legal notice.&nbsp;

'The Tashkent Files' features Mithun Chakraborty, Naseeruddin Shah, Shweta Basu, Pankaj Tripathi, Vinay Pathak, Mandira Bedi and Pallavi Joshi in the lead roles.

Two days before its theatrical release, Vivek Agnihotri's new film 'The Tashkent Files' has landed in trouble over its content. Based on former PM Lal Bahadur Shastri's death, the film attempts to delve deeper into the cause of his death at Tashkent, Uzbekistan in 1966 hours after the signing the Tashkent Declaration.

Two days before its theatrical release, Vivek Agnihotri's new film 'The Tashkent Files' has landed in trouble over its content. Based on former PM Lal Bahadur Shastri's death, the film attempts to delve deeper into the cause of his death at Tashkent, Uzbekistan in 1966 hours after the signing the Tashkent Declaration. Shastri's grandson Vibhakar Shahstri has appealed for a stay order on the release of the film alleging that the film is an 'attempt to create unwarranted and unnecessary controversy.' The film is scheduled to release on 12th April. A notice that has been sent to Agnihorti reads,"It is understood that an attempt has been made to create unwarranted and unnecessary controversy, propaganda surrounding the death of Late Lal Bahadur Shastri, former PM of India who had died a natural death and which has been successful to an extent post the release of the trailer of the film." While speaking to a news channel, filmmaker Vivek Agnihotri, stated that Shastri was coerced by the "top family of the Congress party" to stop the release of the film. "It's been happening for quite some time. They have been bullying me and threatening me on social media, and I have also taken help from the Maharashtra government. Yesterday, I received a legal notice from senior Congress member Vibhakar Shastri, who also happens to be the grandson of Lal Bahadur Shastri, to stop the movie saying that whatever is shown in the movie is not true," Vivek said. "I have heard from the horse's mouth that he has been coerced by the top family of the Congress party to serve it on me because if they serve it doesn't look correct for them, which will make them look like a guilty party. This is despite that he came for the screening of the movie," he added. The filmmaker claims that Vibhakar Shastri had praised the film when he had watched it in Delhi on 7th April and later got influenced by members of the Congress party to send a legal notice. 'The Tashkent Files' features Mithun Chakraborty, Naseeruddin Shah, Shweta Basu, Pankaj Tripathi, Vinay Pathak, Mandira Bedi and Pallavi Joshi in the lead roles.

The Tashkent Files:Lal Bahadur Shastri's grandson sends legal notice to Vivek Agnihotri