- Date of Release: 05 December 2025
- Genre: Action, Drama, Thriller, Adventure
- Language: Hindi
- Watch On: Theatres Only
Dhurandhar
Introduction
The chatter around the film made me believe that Dhurandhar is like an industry outsider who is just about to be launched in the big bad world of cinema. There are already naysayers ready with knives, wanting to criticize it the moment it is out, or alternately already pulling the newbie down on accounts of jealousy. But unfortunately for all these extortionists, this outsider has passed with flying colours (and how). Within the first fifteen minutes of Dhurandhar, you get to know on how different this espionage thriller is from the slightly overhyped YRF Spy Universe (and I mean no disrespect to it with this comparison). It is immediately grounded in reality, so much so that it takes time to introduce you to its players and the world that it is set in. And in this world, the focus isn’t on any one particular superhero that would double up as a spy agent. There aren’t fellow spy agents taking a break from their job to shake a leg, or a bikini dance number that appears out of nowhere. There are layers and layers of drama to the part one of this saga, something that typically unfolds like a graphic novel of sorts. It is absorbing, riveting and a beast of an espionage thriller that focuses on the character dynamics against the backdrop of politics to add motives for its characters. In that regard, it is intrinsic as well.
Story & Screenplay
Written by Aditya Dhar, Shivkumar Panicker and Ojas Gautam, Dhurandhar wishes to mount itself in a sea of realism, staging the drama against the background of true events of terrorism that plagued the nation. The cold open of 1999 introduces you to the Chief Of IB Ajay Sanyal (R Madhavan with a nod to Ajit Doval) even as the Indian authorities are brought on their knees in the wake of the Kandahar Hijack. The events shift to 2001 and the next terrorist attack that occurs in the country is the infamous attack on the Parliament of India. And that incident triggers a chain of events that shift focus to Lyari in Karachi with the introduction of our Dhurandhar aka Hamza (Ranveer Singh).
It is clear that the inspiration of Dhurandhar remains Operation Lyari veiled in a fictional form of storytelling, wherein the makers ably weave an espionage thriller around it. And the understated nature of the drama can be determined with the introduction of Hamza, an Indian asset in Pakistan who isn’t necessarily given a heroic entry. On the contrary, the marketing material of Dhurandhar may have foxed you into believing that this remains a high-octane actioner. In his introductory setup, you see Hamza casually entering the town of Lyari, only to take up an odd job at a juice stall, and also be beaten up by unsuspected men without a trace of retaliation. Clearly, the intention remains to be underground while passing on the intel to the Indian authorities, something that prompts him to scheme a setup that lands him in the gang of Rehman Dakait (an aura farming Akshaye Khanna in beast mode), one of the kingpins of the land.
The focus of the drama remains on the character dynamics that give you a sense of the power dynamics in Pakistan. And it also helps that every little subplot and its subsequent character introduction is divided into chapters, something that ably provides some unhinged focus to every small event in a film that has a whopping runtime of 214 minutes (and this is just part 1 of 2). In the process, you are introduced to some of the main players – Uzair (Danish Paston), Rehmat’s cousin and his right hand, a scheming politician Jameel (Rakesh Bedi) who is known to be an opportunist and switch sides at the drop of a hat, the head of the ISI Major Iqbal (Arjun Rampal) who is as scheming as he is intimidating, and a rebellious cop SP Chaudhary Aslam (Sanjay Dutt) who hates the Baloch folks.
In the same breath, politics plays a major part in defining the motivations of the characters. For instance, Hamza poses himself like a Baloch (his frequent cutaway flashbacks give us a glimpse of his past but he remains a character without a baggage to begin with), while pretending to fight for his clan against the mighty military setup of Pakistan. In that sense, Hamza remains a character with anti-establishment trait in the context of Pakistan, something that pits him against the usual military mafia of the state. Here, the conflict between the Baloch folks and the Pakistan military offers a sense of poignancy, a subtext within a subtext that defines the layered fabric of storytelling here. At the same time, the film doesn’t lose sight of its broad strokes – almost dipping every character in a deluge of a power tussle that sees them shift sides in exchange for power and money.
One small criticism for me remained the love angle that Hamza shares with Simran (Sara Arjun). While I understand the subtext of their relationship given that the latter remains Jameel’s teenage daughter, the short-lived love track stuck out like a sore thumb given how it didn’t exactly feel organic (even with the idea of s*xualizing a 19 year old). Having said that, the character of Simran does hold some merit in the larger scheme of things, almost doubling up as a catalyst in the drama which ensured that her arc wasn’t all fluff.
The layers define the cause of Hamza, while also ensuring you space with respect to his vulnerability in the wake of a couple of other terrorist activities that transpire in India. From the Indian context, the politics does feel slight manipulative (and I can almost predict as to where this is headed in part 2) but credit where due, the tone of the drama is maintained superbly here. This remains true even in the subtext of rage and revenge that form key virtues of Hamza, even as he begins his manipulative games with the folks around him. The tension remains palpable on whether he will be caught, or the manner in which he will be tortured – a glimpse that you get in a scene wherein Iqbal shreds the skin of a traitor, or in another wherein Rehman rips the brains out of a character. But following an explosive yet controlled final act that spews of a monstrous rampage, the things are set perfectly for the second part of Dhurandhar to wreck havoc. This, even as the death of a major character marks the start of a Dhurandhar fightback!
Dialogues, Music & Direction
Largely, the dialogues remain understated, almost complimenting the sombre mood of the drama. Barring a few splashes of manipulation featuring a political bias, the dialogues do land wonderfully while never deviating your attention from the layered drama in sight. The music and BGM by Shashwat Sachdev is nothing short of a banger here. It just goes to show on how well Shashwat has understood his assignment here, while virtually adding life to innumerous action set-pieces that play out against the backdrop of yesteryear’s numbers with catchy beats, or some original bangers that boost the impact of the sequences. The same is also complimented by a superb sound design that often keeps you on your toes.
In the same breath, the cinematography by Vikash Nowlakha is absolutely stellar to say the least. The action set-pieces are choreographed and captured with a certain amount of flair that rotates between slow-motion shots to some complex movements in a confined space (for instance, a moving car). Another huge positive remains on how the frames don’t shy away from showcasing the gore and blood while seamlessly blending it in a world that oozes of a strong emotional hinge with respect to its characters. Also, the creative decision to alternate between actual documentary footage and fictional setups, adds authenticity to the drama.
The costumes by Smriti Chauhan compliment the greyness of the characters with similar shades in their attire. The only character given a brighter shade with respect to her attire is Simran, something that depicts the exuberance of youth as well as her non-conformist nature. The prosthetics department deserves a raise too for some incredible work with the getups of the characters, as well as the use of blood and gore with respect to the body parts. Also, the art department deserves a shoutout for recreating the town of Lyari (in Pakistan) rather seamlessly, with good use of antic interiors and detailing that add to the ambience of the drama and its setting.
The editing pattern remains an interesting aspect here given how on paper, the length of the drama is cruelly whopping. But I must admit that the transitions remain engrossing without really exhibiting a sense of lag in the narrative, something that remains a green tick in the report card of the editor. Director Aditya Dhar shows yet again on the technical supremacy that laces his craft, last that he exhibited so brilliantly in Uri (2018). And yet here, he is willing to showcase his calibre as a filmmaker who wishes to delve deep into the character dynamics against the backdrop of an intriguing world building, without necessarily focusing on any one character. In that sense, the drama here is layered and understated – two important virtues that ground the narrative to a very large degree. Make no mistake, Aditya Dhar the filmmaker is prolific in every sense while stamping his authority yet again in an ambitious drama that lands beautifully.
Performances
The performances are excellent by the members of the cast and it is yet another casting director Mukesh Chhabra who scores with the casting here. Akash Khurana, Saumya Tandon as Rehman’s wife and Manav Govil as Sushant have their moments to shine. Gaurav Gera remains sincere and earnest with his act here, almost doubling up as an emotional cushion to the protagonist Hamza. Naveen Kaushik as Donga is wonderful to witness here while superbly adding to the intensity of the proceedings. Danish Pandor as Uzair remains the find of the film for me, wonderfully holding fort against some ‘Dhurandhar’ performers around him while seamlessly blending his character in this world. He was brilliant to witness here. Jameel is a scheming character as Rakesh Bedi touches upon the greyness and insecurity of his charactef beautifully here. There is a touch of playfulness even as the veteran remains well within the boundaries of his character without drifting away from its core.
Sara Arjun as Simran may be let down a little by the writing but she boasts of a solid screen presence coupled with a charming personality that lights up the screen. She does show enough (in her first leading appearance) with her body language and emotions to compensate for the lack of depth in her written character. Arjun Rampal as Major Iqbal has a short but intimidating stay here while setting up things wonderfully for his presence in part 2. He does manage to give you chills in his short stay here. R Madhavan as Ajay Sanyal shoulders the grace and dignity of his character rather well. His posture is on point while leaving a lasting impression with his performance. Sanjay Dutt as Aslam is menacing while adding a layer of intrigue and intensity to the proceedings.
Akshaye Khanna as Rehman absolutely owns the arena here with a character that is subtly menacing and violent. He uses his expressions rather effectively in delivering a minimalistic performance that works on the aura of his character more than anything else. This may well be one of the finest performances of his career wherein he is brilliant to the core. Ranveer Singh as Hamza is terrific in his (mini) comeback vehicle. He once again proves on how you can’t keep a good actor down for too long. But in many ways, this remains a restrained performance by him. It is almost as if he maintains a leash to keep his energy in check while revelling in the broody mood of his character, something that makes him vulnerable at crucial points. He is excellent to witness here while putting forth a beast of an act here.
Conclusion
Boasting of terrific performances, Dhurandhar is a layered and absorbing drama veiled as a monstrous espionage thriller that makes for a brilliant watch. And with Dhurandhar Part 2 releasing on 19th March 2026, we might just be in for a treat, given how part 1 ends. I know I will be seated; will you be too? Available in a theatre near you and Highly Recommended!