How Did Karan Singh Tyagi Turn a Colonial Courtroom Battle into Cinematic Gold?

Karan Singh Tyagi’s journey from the world of law to the realm of filmmaking is nothing short of extraordinary. A graduate of the prestigious Harvard Law School, Tyagi initially embarked on a conventional path, building a successful legal career with leading international law firms in Paris and New York. Yet beneath the surface of his corporate achievements was a simmering passion for cinema — a passion that would eventually redefine his life’s trajectory. Today, Tyagi stands at the helm of Kesari Chapter 2, a film that has captured the attention of audiences and critics alike. The movie, which opened to widespread acclaim, is a courtroom drama rooted in one of colonial India’s most painful and significant historical events — the Jallianwala Bagh massacre of 1919. The narrative follows the determined and courageous efforts of C Sankaran Nair, a brilliant Indian barrister who dared to take on the British Empire by exposing the truth behind the massacre through legal means.

Tyagi’s foray into cinema did not begin with formal film school training or a conventional apprenticeship. Instead, it was nurtured through years of devoted film-watching, which he fondly describes as his “cinema education.” Even during his time at Harvard, amidst the rigors of legal studies, Tyagi would brave snowy streets to catch the latest Bollywood releases in theatres — a testament to his deep-rooted love for film. Movies were more than entertainment for him; they were an enduring passion, one he shared with his family from an early age. It was this passion that eventually led him to a turning point in 2015, when he made the bold decision to take a sabbatical from law and return to Mumbai with the sole purpose of pursuing filmmaking. What began as a temporary break would soon evolve into a permanent and transformative new career.

Upon returning to India, Tyagi reached out to acclaimed filmmaker Vishal Bhardwaj, who graciously offered him the opportunity to assist on the set of Rangoon. That experience, according to Tyagi, became his true film school. From observing the intricacies of direction to understanding the nuanced role of cinematography, Rangoon provided him with an immersive crash course in filmmaking. Tyagi quickly recognized that to make his own film, he had two choices: either continue working under seasoned directors or begin writing his own script. Opting for the latter, he poured himself into the writing process. It was this script that brought him in contact with producer Amritpal Singh Bindra, who not only collaborated on the screenplay but also co-produced Kesari Chapter 2. The duo’s shared vision for the film laid the foundation for what would become a major cinematic venture.

The decision to focus his debut film on a legal-historical subject was not incidental. Tyagi’s legal upbringing played a pivotal role in shaping his creative choices. Law and justice had always been central themes in his life — from his father’s role as Chief Investigating Officer in the 1993 Mumbai blasts case to conversations at home with his wife, a litigation partner at AZB & Partners. Tyagi grew up steeped in courtroom dialogue, which naturally made him gravitate toward legal dramas. He was deeply influenced by iconic films such as Damini, A Few Good Men, and The Verdict. When he discovered the book The Case That Shook the Empire by Raghu and Pushpa Palat, which recounts the legal battle fought by Sankaran Nair against the British Raj, he instantly knew this was the story he wanted to tell. It was the perfect intersection of his legal expertise and cinematic ambition.

The script was eventually pitched to Karan Johar at Dharma Productions, who immediately recognized the power of the story and came on board as producer. With Dharma's backing, and the casting of Bollywood heavyweight Akshay Kumar in the lead role, the film quickly gained momentum. Tyagi speaks of Kumar with immense admiration, describing him as the ideal collaborator who brought energy, depth, and commitment to the character of Nair. Despite Kumar’s past portrayals of lawyers on screen, Tyagi reveals that the actor fully immersed himself in the unique psychological and emotional arc envisioned for this role. The two worked closely through multiple script readings, with Tyagi guiding Kumar through the transformation of a character who initially views the law as a game of winners and losers, but eventually embraces the deeper moral duty of seeking truth and justice.

This transformation is encapsulated in one of the film’s most striking lines, which Kumar’s character repeats and later reframes: “Adalat mein har aur jeet ka faisla hota hai, sahi aur galat ka nahi.” For Tyagi, this dialogue became a metaphor for the evolution not just of the character, but of the broader idea of justice itself. It reflected his desire to explore how legal systems, while procedural and adversarial, must ultimately serve a moral and ethical purpose. Tyagi has often observed how lawyers become consumed by the binary pursuit of victory or defeat, forgetting that the core of the profession lies in upholding truth. This philosophical undercurrent became the backbone of the film’s emotional and intellectual journey.

The story of C Sankaran Nair, as portrayed in Kesari Chapter 2, is a powerful reminder of the courage it takes to stand up against oppressive systems. Nair was not only a knighted member of the Viceroy’s Executive Council but also a fearless reformer who risked his political career to speak out against the British atrocities at Jallianwala Bagh. His book Gandhi and Anarchy exposed the brutality of British rule and sparked a defamation lawsuit by Michael O'Dwyer. Instead of settling or apologizing, Nair chose to fight the case in court, using the trial as a platform to reveal the truth. At a time when censorship was widespread and the colonial regime sought to erase dissenting voices by banning newspapers and destroying survivor testimonies, Nair’s courtroom battle became a bold act of resistance. Mahatma Gandhi himself later acknowledged Nair’s contribution, stating that in trying O’Dwyer, he had in effect tried the entire British Empire.

Tyagi sees a clear parallel between the colonial misinformation campaigns of the early 20th century and the challenges of today’s post-truth world. In the film, he highlights how poets were prosecuted as seditionists and newspapers were silenced for telling the truth — a chilling echo of contemporary struggles against propaganda and suppression. The message is clear: history must not only be remembered but interrogated, especially when the same tactics of narrative control and truth distortion persist in modern times. Kesari Chapter 2 thus becomes more than a historical retelling; it is a timely reflection on the enduring importance of truth and accountability.

Throughout the making of the film, Tyagi continued to wear both his hats — that of the director and that of the lawyer. His legal training was instrumental in crafting authentic courtroom scenes and ensuring the characters spoke and behaved like real lawyers. He co-wrote the dialogues with Sumit Saxena, taking care to preserve both the historical integrity and the dramatic intensity of the narrative. Tyagi believes that his ability to structure arguments, communicate vision, and think analytically — all skills honed through years in law — served him well as a filmmaker. Ultimately, he views filmmaking as an act of persuasion, much like law, where the goal is to present a compelling story that resonates with both the heart and the intellect.

Among the many powerful scenes in the film, Tyagi holds special affection for two. One depicts Nair visiting a young revolutionary’s home and attempting to dissuade him from taking a path of violent protest. This quiet, intimate moment becomes the emotional anchor of the film. Another poignant scene shows Nair learning about the boy’s death, symbolizing the passing of the revolutionary flame from one generation to the next. Tyagi credits his actors for bringing such moments to life with sensitivity and gravitas.

When asked about his cinematic inspirations, Tyagi is quick to cite a diverse array of filmmakers, both Indian and international. He deeply admires Karan Johar’s My Name is Khan, a film he has revisited multiple times. He credits Vishal Bhardwaj, who gave him his start in the industry, as a creative influence. He also draws inspiration from the grandeur of Sanjay Leela Bhansali, the storytelling of Ridley Scott, the dialogue mastery of Aaron Sorkin, and the social realism of The Wire creator David Simon.

As for what’s next, Tyagi hints that he’s currently working on a new project, though it’s too early to reveal specifics. What he does share is that the upcoming film will not be a legal drama. After spending nearly a decade immersed in law — first in practice and then in storytelling — he is eager to explore a different chapter of Indian history through cinema. For Tyagi, there are countless stories waiting to be told, and as both a lawyer and a filmmaker, he sees it as his mission to bring them to light.