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The recent documentary on the Indian Air Force’s (IAF) contribution to the Kargil War, while much anticipated, fails to do justice to the organization’s multifaceted efforts. Yash Mishra, a media freelancer and the son of an IAF veteran who served in the war, shares his perspective in this two-part article series—a blend of opinion and deeply personal experience.
A Son’s Disappointment with a Nation’s Celebration
On July 26th, as the nation swelled with pride commemorating 26 years of Operation Vijay—the decisive victory of the Indian Armed Forces over Pakistani intruders in Kargil—Docubay launched its highly-anticipated documentary, ‘Kargil 1999: The Untold Story of the Indian Air Force’. Authored and directed by Smriti Singh Mahajan, it is backed by veteran filmmaker Samar Khan, known for successful military-themed productions. As someone from a military family, I’ve genuinely enjoyed his work, and given this background, I was perplexed and disheartened: why did the creators fail so spectacularly in what should have been a landmark achievement?
The documentary’s recent accolades for ‘Best Documentary’ and ‘Best Director (Non-Fiction)’ at the Indian Telly Awards 2025 remain an enigma to me. Accolades for cinematography and score would have been far more appropriate, reflecting the only truly exceptional elements of the production.
The Indian Army has consistently featured across a spectrum of cinematic productions, from ‘LOC-Kargil’ (2003) to documentaries like ‘The Fifty Day War.’ Conversely, the Indian Air Force has received scant and often inaccurate portrayal in cinema. Even a filmmaker I admire, Mani Ratnam, faltered in ‘Kaatru Veliyidai’ (2017) with glaring inaccuracies concerning air bases and uniforms. While one might overlook such oversights in fiction, where is the authentic, intimate portrayal in a documentary? This genre is increasingly captivating audiences by seamlessly blending facts with compelling narratives, yet this film missed the mark.
The Unseen Sacrifice: A Son’s Intimate View
As the documentary unfolded, I desperately sought any mention of my father’s squadron, the 106 SR Squadron (now a fighter squadron), renowned for its critical reconnaissance and enemy position identification. To my utter disbelief, it was conspicuously absent. Adding insult to injury, there was no recognition of other vital squadrons, like the 25 Squadron and the 44 Squadron, both indispensable in ferrying personnel—both active and martyred—along with crucial munitions and rations. A fleeting footnote, a sentence acknowledging their IL-76 and AN-32 aircraft, felt like a dismissive afterthought.
My father proudly bears the Operation Vijay medal, awarded to every military personnel involved. As a transport fleet pilot, I vividly recall his relentless activity, 24/7, at the technical area of Air Force Station, Agra—a bustling hub during the war. He was rarely home, his face perpetually stubble-laden, hair dishevelled, and eyes heavy with sleep deprivation.
The Indian Army has consistently featured across a spectrum of cinematic productions, from ‘LOC-Kargil’ (2003) to documentaries like ‘The Fifty Day War.’ Conversely, the Indian Air Force has received scant and often inaccurate portrayal in cinema. Even a filmmaker I admire, Mani Ratnam, faltered in ‘Kaatru Veliyidai’ (2017) with glaring inaccuracies concerning air bases and uniforms. While one might overlook such oversights in fiction, where is the authentic, intimate portrayal in a documentary? This genre is increasingly captivating audiences by seamlessly blending facts with compelling narratives, yet this film missed the mark.
Reflecting on this now, I am both baffled and incensed. Beyond the glaring omissions of entire squadrons, why were so many other serving and retired personnel denied a voice? To truly comprehend how an entire organization mobilized against the enemy, a broader perspective is imperative. My most pressing question endures: why have the majority of IAF officials remained silent regarding these undeniable oversights, even a full year post-release?
In ‘LOC-Kargil,’ the filmmakers, before the narrative commenced, not only acknowledged their inability to showcase all army units due to cinematic constraints but also respectfully listed their names, thus honoring them. Shockingly, ‘Kargil 1999’ failed to even mention other squadrons, let alone the numerous leading Air Warriors who were instrumental in the conflict. The Air Warrior Code unequivocally defines anyone professionally linked with the IAF as an “Air Warrior,” regardless of their specific trade. To exclude so many voices feels both illogical and profoundly incomplete.
The Pursuit of “Technical” Over “Human”
The documentary commendably spotlights the IAF’s pioneering achievement in establishing high-altitude air combat capabilities—an accomplishment of global significance. While technical minutiae are vital for an “inside story,” the filmmakers’ excessive focus unfortunately overshadowed the human element. This critical imbalance, neglecting to weave professional insights with compelling personal narratives, ultimately diminished the documentary’s overall impact.
The film features an impressive roster of highly respected figures, including former Air Force Chiefs Air Chief Marshal (Retd) AY Tipnis and Air Chief Marshal (Retd) BS Dhanoa. It also includes veterans such as Air Marshal Narmadeshwar Tiwari and Group Captain (Retd) Kambampati Nachiketa Rao. Many of these individuals share personal connections with my father. Yet, a fundamental question persists: where are the diverse perspectives of other personnel? Beyond a select group of officers and a handful of civilian “experts,” were no other “Air Warriors” or “Sanginis” (as the IAF affectionately refers to the wives of its personnel) deemed worthy of inclusion? Is this limited group truly the sole fount of insight?
This begs a crucial question: does the documentary genuinely offer a comprehensive historical account, or is it merely a narrow portrayal, analogous to an “LOC-Kargil” from the IAF’s restricted viewpoint?
ABOUT THE AUTHOR: Boasting a diverse career spanning over a decade, Yash Mishra is a Delhi-based media freelancer. His experience includes significant contributions in various roles at Doordarshan and Peepul Tree World, as well as extensive work within the Indian film industry across multiple languages.
These pieces are being published as they have been received – they have not been edited/fact-checked by ThePrint.