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By:

Shoumojit Banerjee

27 August 2024 at 9:57:52 am

Sands of Empire: Revisiting Khartoum

If you thought Lawrence of Arabia (1962) was the only great desert classic, think again. Overshadowed for decades by David Lean’s masterpiece, Khartoum (1966) remains one of the great neglected historical epics. Directed by Basil Dearden and anchored by commanding performances from Charlton Heston and Laurence Olivier, it deserves a place alongside the decade’s finest large-scale historical dramas. While it falls short of the towering achievement of Lawrence of Arabia, it remains a worthy...

Sands of Empire: Revisiting Khartoum

If you thought Lawrence of Arabia (1962) was the only great desert classic, think again. Overshadowed for decades by David Lean’s masterpiece, Khartoum (1966) remains one of the great neglected historical epics. Directed by Basil Dearden and anchored by commanding performances from Charlton Heston and Laurence Olivier, it deserves a place alongside the decade’s finest large-scale historical dramas. While it falls short of the towering achievement of Lawrence of Arabia, it remains a worthy epic unjustly overshadowed by Lean’s film. More importantly, it belongs to a now-vanished tradition of historical filmmaking that believed audiences could appreciate history, ideas and spectacle in equal measure. Set in 19th century Sudan and Egypt, Khartoum sees the flamboyant General Charles ‘Chinese’ Gordon, played with tremendous conviction by Heston, square off against Muhammad Ahmad, the self-proclaimed ‘Mahdi’ or the ‘Expected One,’ portrayed by Olivier. Amid tangled imperial geopolitics, the British government dispatches Gen. Gordon to oversee the evacuation of Sudan, where the Mahdi has ignited a rebellion against Egyptian and British authority. The Mahdi was a nineteenth-century Osama bin Laden-like prototype – a ruthlessly charismatic religious figure capable of rallying thousands through a potent mix of faith, prophecy and political revolt. The duel between Gordon and the Mahdi is alone worth the price of admission. Heston, relishing the opportunity to play something far more nuanced than his usual larger-than-life heroes, delivers what may well be the finest performance of his career. Sporting a British accent, Heston’s Gordon is a vain man (with a monumental ego) driven equally by courage and conviction. Heston creates a character far more interesting than his celebrated household roles of Judah Ben-Hur or Moses. Indeed, Heston personally regarded Khartoum as one of his favourite films as the role allowed him to move beyond heroic certainty and explore the contradictions of a deeply complex historical figure. Olivier’s performance has long attracted controversy because of his use of blackface. Yet as an acting performance, it remains extraordinarily compelling. His Mahdi is intelligent and magnetic; a man whose seething fanaticism and certainty of purpose makes him a lethal opponent. The conflict between Gordon and the Mahdi is not simply military but philosophical. Each sees himself as the instrument of a higher cause and recognises something admirable in the other. Their exchanges possess an intellectual weight seldom encountered in contemporary blockbusters. That quality owes much to the literate screenplay by playwright Robert Ardrey who has his characters debate faith, empire and political expediency in scintillating dialogues. The supporting cast is equally distinguished. Sir Ralph Richardson is magnificent as the British Prime Minister, William Ewart Gladstone who embodies British pragmatism and Machiavellian statecraft in equal measure. He admires Gordon while recognising that empires cannot be run according to the impulses of heroic individuals. Richardson captures the tension between moral rhetoric and political calculation with a finesse that only a legend of his stature could. One should perhaps be thankful that such a film got made at all. Never mind today’s audiences, the tangled skein of late 19th century British imperial politics was hardly an easy sell for audiences in the 1960s as well. Americans, in particular, would likely have had little clue about Sudan, Khartoum, Gordon or the Mahdist revolt. Yet Khartoum succeeds brilliantly in bringing this forgotten era to life. The political intrigues of Whitehall and the desperate military situation on the Nile acquire genuine dramatic force. It belongs to a period when filmmakers trusted audiences to listen and follow ideas rather than watch mindless action. The 1960s were the golden age of the literate historical epic. Films such as Spartacus, El Cid, The Fall of the Roman Empire and The Charge of the Light Brigade combined spectacle with serious engagement with history. Khartoum stands proudly within that tradition. Gordon and the Mahdi have long gone. The British Empire has vanished. But Sudan remains trapped in seemingly perpetual cycles of conflict. Coups, civil wars, military strongmen, competing centres of authority and devastating violence have haunted the country for decades. The headlines change; the instability persists. That is what makes Khartoum feel unexpectedly contemporary. Beneath its grand costumes and imperial pageantry lies a story about a state struggling to define itself, about rival claims to legitimacy, and about the dangerous collision between political power and religious conviction. 60 years after its release, Khartoum remains not merely a superb film but a haunting reminder that history, especially in Sudan, has a habit of repeating itself.

Violin to Vocals

Updated: Mar 17, 2025


Ranjani and Gayatri
Ranjani and Gayatri

On the eve of Women's Day, sisters Ranjani and Gayatri brought their show Raga by Rasa to Tata Theatre, NCPA in Mumbai, which they describe as a “hallowed space”. The musical evening, organised by Pancham Nishad, saw a packed house of music lovers. The sisters delve into the journey from violinists to vocalists in an interview with ‘The Perfect Voice’. Excerpts…  


‘Rasa by Raga’ explores the emotional essence of ragas. How do you curate the selection of ragas and compositions to create an immersive experience for the audience?


Music without emotions is merely a sequence of sounds. Its true appeal lies in its ability to touch the listener, making emotional connection essential to a musician’s success.


Each Raga offers a vast canvas for musicians to imagine and explore. While Ragas are traditionally linked to certain emotions, some musicians believe that every Raga has the potential to evoke any emotion, depending on the artist’s interpretation and creativity.


Indian classical music provides boundless opportunities for exploring melody, emotions, and artistic expression. Rasa by RaGa delves into the emotional depth of Indian classical music, presenting timeless Ragas, concepts, and songs in an innovative format that blends tradition with modernity. The project, curated over several months, stems from over four decades of dedication to the art form. It celebrates a deep-rooted love and unwavering belief in classical music's ability to embrace diverse genres while remaining authentic, timeless, and relevant.


Your journey from being violinists to renowned vocalists has been remarkable. What inspired this transition, and how has it shaped your approach to Carnatic music?


After a decade of being established violinists, the odds weren’t great to be successful in vocal too. Even though the violin had always been our medium of musical expression, we played in a vocal style. However, our guru, Sri PS Narayanaswamy, upon hearing us sing, not only encouraged us but almost commanded us to share our voices on stage. The overwhelming love and encouragement from audiences far exceeded our expectations, inspiring us to explore this new path.


Our journey from violinists—rooted in our early years in Mumbai—to vocalists was entirely unplanned, a twist of fate that led us to an exciting journey of self-discovery. It was our guru’s unwavering belief in our singing potential that nudged us towards our debut vocal concert, even when we were known primarily for our violin performances. It took us a few years to truly embrace our own voices—that "Eureka" moment—but once we did, there was no turning back.


Singing has profoundly shaped our musical journey, deepening our connection to both music and our inner selves. It has challenged us to explore Ragas, interpret grand compositions, master diverse repertoires across languages, and absorb intricate musical nuances—transforming us into the musicians we are today.


What aspects of Carnatic music draw you to it, and how do you keep innovating while staying true to its rich tradition?

In the realm of Carnatic music, we are insiders. Much like the instinctive love for one's mother or the innate trust in one's father, our bond with Carnatic music is something we feel deeply rather than rationalize.


Our journey began with simply immersing ourselves in the art form, and its magnetic pull has held us ever since. It’s difficult to detach and view it objectively because the connection is so profound. This reflection arises because the question itself stems from an outsider's perspective.

At its core, classical music is a time-tested framework—like a highway that allows each musician to navigate their journey in their unique style. While it has defined rules, boundaries, and compliance, it offers immense freedom for individual expression.


One of the most remarkable features of Carnatic music is its equilibrium between structured compositions (kalpita sangita) and spontaneous creativity (manodharma sangita). Mastering this art demands years of rigorous sadhana, challenging musicians across every dimension—be it voice, instrument, intellect, expression, or imagination.


Beneath the vast layers of compositions, Ragas, Talas, and improvisational techniques like alapana, neraval, kalpanaswara, and thanam, lies the spiritual essence of music. The journey of learning and performing becomes a path of self-discovery, revealing life's deeper purpose. Once this realization dawns, innovation flows naturally without the need for forced efforts—rooted firmly in tradition while pushing the boundaries of creativity.


What have been the main challenges in your journey to becoming renowned vocalists, and do you think these challenges are more pronounced for women artistes? 


For those from non-connected backgrounds, the journey to acceptance and success may be longer, but it builds resilience, strength, and character. We are no exceptions. The effort and time it demands, makes the rewards even more fulfilling, leaving a lasting impact.


For women, especially those whose only credentials are their art and hard work, the journey comes with unique challenges. While gender biases may add hurdles, they also inspire us to strive harder, pushing us to be twice as good and more determined to carve our own space. As women balancing multiple roles—mothers, daughters, and nurturers—this path tests our limits, but it also empowers us to rise stronger, proving that passion and dedication can break barriers.

 

How do you think young audiences can be drawn to classical music, and what efforts are needed to make it more accessible?


Indian classical music, particularly Carnatic music, has everything in it to draw the younger audiences- energy, freshness, appeal, enchanting melody and peppy rhythms. This music’s communicative power has to be leveraged by musicians, to create an impactful concert experience for audiences. Also, taking classical music in little steps to schools, making this a part of the soundscape of children is key to inculcating love for good music in the very young. Governments and school managements have a very important role to play in this.

 

What steps can be taken to nurture the next generation of musicians?


Providing opportunities to talented musicians creates a nurturing environment for future generations to thrive. Along with imparting this rigorous art form, ensuring financial security is equally essential. There are no shortcuts—mastery in classical music demands a lifetime of learning, relentless sadhana, and navigating the social pressures of building and sustaining a career.


Musicians must balance their dedication to the art with the demands of social media, evolving digital platforms, shifting tastes, and modern realities.

Maintaining an unwavering focus on music’s essence while innovating and connecting with the world is a significant challenge. Students need comprehensive support—emotional, financial, and musical—at every step of their journey. When the classical music ecosystem provides such encouragement, it paves the way for deserving musicians to emerge, upholding the values of this timeless tradition.

 

 

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