Dhurandhar is scripted, directed, and produced by Aditya Dhar, whose earlier directorial outing was Uri: The Surgical Strike. If the “Josh levels” were high in that film, Dhar takes them even higher in Dhurandhar. Although the film opens with a long disclaimer stating it is purely a work of fiction, most viewers can tell that it is largely based on real events, accounts, and people. For those closely following current affairs, the events depicted in the film are easy to relate to and therefore engaging.
Any commentary on the film is difficult without mentioning its length. The film runs for 3.5 hours, and this is only Part 1. A sequel is scheduled for release by March 2026. With such a lengthy film, it is a significant challenge for the creators to keep viewers engaged throughout, and in this regard, I would say it is a mixed bag. The screenplay mostly keeps us engaged, but there are moments when it struggles to hold our attention, only to regain it later. The ability to stage a comeback when the film begins to lag is one of the film’s strong points.
Dhurandhar clearly belongs to the spy thriller genre, but is entirely different from the ‘Pathan, War, Ek Tha Tiger’ types of spy thrillers. Because it is based on real events, it is more intense, with a raw storytelling style. The film is structured as chapters, and in the first chapter itself, the director sets the context: Pakistan-backed terrorists are repeatedly involved in attacks in India, such as the IC 814 hijack and the Parliament attack. Yet, India is unable to stop these through dialogue or Aman ki Asha efforts and therefore decides to resort to covert operations. This decision follows an impactful scene inside the hijacked aircraft at Kandahar when the IB Chief shouts Bharat Mata ki, but meets with an eerie silence.
Ranveer Singh plays Hamza, an undercover operative planted in Pakistan to gather intelligence on its terror plans. He joins a powerful mafia gang, and until the interval, we are immersed in intergang rivalry, the politician-mafia nexus, and the ISI’s scheming. These parts are quite different and feel very realistic. The first half of the film runs for two hours, and the director tries to fit too much into it. As a result, the watch feels somewhat tiring, but the second half becomes sleeker and more engaging.
The film scores very high on craft and making. It is, to a large extent, an action film, and the action set pieces are brilliantly executed. For example, the action sequence in the climax inside a moving car, I thought, was very well shot. Vikash Nowlakha is the cinematographer, and his work is top-notch. It seems that, except for the long shots or the drone shots, the entire film has been shot on multiple steady cams, which gives an edgy feel not just to the action sequences but even to conversational scenes. Dhar has put a lot of thought into framing of the scenes, and that shows in how the screenplay on paper has been translated to the big screen. There is a scene reminiscent of Iruvar, in which Mohanlal makes an entry into a public meeting while Prakash Raj is speaking on the dias. Here, Akshay Khanna makes that entry when Rakesh Bedi speaks, and this showcases Dhar’s skills in staging an important scene.
Apart from the direction and technique, the other aspect that works strongly for the film is the cast. Ranveer Singh as Hamsa plays his role with a highly intense yet restrained intensity that suits the character. He has a commanding screen presence and, when necessary, emotes in a controlled way to express the pain and agony his character endures when he cannot control certain situations. The other standout performer is Akshay Khanna. He maintains a mean, menacing look throughout. In his entry scene, he appears even more menacing and gives Ranveer a tough fight in terms of presence. The supporting cast of Sanjay Dutt, Arjun Rampal, Gaurav Gera, and Rakesh Bedi all perform their roles quite competently. Madhavan appears in only a few scenes, but as the Intelligence chief playing Ajit Doval, he matches his look and persona very well. There is a love-interest thread introduced between Ranveer and Sara Arjun that seems forced, but the screenplay makes intelligent use of it later.
The editing could have been sharper for sure. The transitions were sometimes jagged, such as when moving from Chapter 2 to Chapter 3. Additionally, the director could have cut some of the lengthy sequences that felt a bit indulgent and risked undermining the film’s pacy tone. The action sequences are excessively loud and gory. This isn’t a film for the faint-hearted. The trailer clearly indicated this, so viewers should be prepared for it. However, this level of violence and noise will likely deter those who dislike seeing excessive blood on screen.
The film’s narrative clearly reveals the makers’ politics. It appeals to the hypernationalistic section of the audience and doesn’t attempt any monkey-balancing in the narrative. There are scenes that are propagandistic, aimed at winning over supporters of the current regime. The film goes all out to trigger a rage against Pakistan among viewers with a detailed portrayal of the country’s hatred towards India. The putting out of portions of the actual audio transcripts during the 26/11 attacks is testimony to this.
It would have made sense to make this subject into a web series. However, the audacious ambition and scale of the project make it unviable to release solely on OTT. It required a successful theatrical run followed by OTT and satellite releases to sustain the budget. Notwithstanding the length and excessive violence, Durandhar keeps us engaged with the proceedings. If you are a fan of the spy thriller genre, Durandhar is a good watch. The film has certainly piqued interest in the sequel.
AnandKumarRSonFilms 
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