- Date of Release: 15 May 2026
- Genre: Action, Crime, Drama, Thriller
- Language: Hindi
- Watch On: Netflix
Kartavya
Introduction
The new Hindi film Kartavya remains a rewarding and frustrating watch – both at once. It immediately earns a reputation of a film that shows spine initially – a rare phenomena in times when everything seems curated with an intention of dividing people. The issue though is closer to reality – on how the fight isn’t taken head-on, while eventually curtailing its very own potential, and transitioning into something damp and spineless. And the slide at the end is enough to ruin the foundation of the drama that it stood for – a fight against the powerful laced with politics of optics and corruption, and an age-old fight against casteism.
The character of Pawan Malik (Saif Ali Khan) immediately catches hold of your attention. When the drama introduces him in the initial reels, you get to know that he is a cop celebrating his 40th birthday. But the subtext remains on how Pawan is quietly a victim of his surroundings that is way older than his age – the issues of which have not only continued for years but also have only gotten worse – a nod to the current regime that is indicated in this world. In between, you see his fascination for white sneakers – a collection of which is gifted by his colleague Ashok (Sanjay Mishra) and also his son, a reminder on how he wishes to identify himself as – a common man, only to be shackled with the confines of the system that he works. And that defines his character – of wanting a better tomorrow for the next generation, even with the ask of having to abide with the current system.
Story & Screenplay
Written by Pulkit, Kartavya can immediately be referred to as a companion piece to Bhakshak (2024), given how it also offers a sneak peek into the life of a journalist who is out in pursuit of the truth, only to be bumped off in the initial reels of the drama. The theme offers a sad state of affairs in journalism – wherein the ones seeking the truth are often met with a dastardly end. Film criticism forms a small but important segment too – wherein criticism is often nullified by a systemic wave of manipulation on social media. But the central incident revolving around true events (it ain’t hard to guess if you have been following the news), acts as a watershed moment for the protagonist who fails to protect the now deceased journalist – but wants to make amends by nailing the perpetrators.
There is a secondary and more personal side to the drama, even as the protagonist has to track his missing brother who has allegedly eloped with a woman of another caste. The caste angle is what makes the drama intimate for the protagonist, even as he has to fight an invisible demon that has now invariably entered his house – often and invariably pitting himself against his father Harihar (Zakir Hussain) who has been a staunch believer of casteism, and the aftermath of honour killing. In a scene, you see a visibly frustrated Pawan his wife Varsha (Rasika Dugal), on how he doesn’t get a break from the worldly issues – one present in his professional setting, and the other, in his private setting. And it is interesting on how Varsha acts as an emotional anchor in his life – often aspiring to be a bridge of communication between her husband and her father-in-law, even while quietly being on the right side of humanity.
There is also a parallel track involving a godman Anand Shri (Saurabh Dwivedi in a weird casting coup; more on that later) being involved in a flesh crime involving young children, while also doubling up as a kingpin in a system that is already corrupt. This involves Pawan’s shady senior Keshav (Manish Chaudhari) who offers a stake of hindrance, or even a 16 year old Harpal (Yudhvir Ahlawat) who remains as much of a victim as Pawan. In other words, all ingredients are present that would challenge the establishment – a ‘wounded’ protagonist seeking for the truth, and pitted against a system that is designed for him to fail.
The first two acts of the film are palpable, even though laced with a sense of predictability that surrounds the antics of the characters in question. But that remained least of my issues, given how the template remained similar to Pulkit’s other hard-hitting dramas like Dedh Bigha Zameen (2024) and even Bhakshak (2024). The core issue for me lay in its final act that not only felt choppy and abrupt, but essentially spineless with the turn of events. Yes, revenge plays an integral part of this passage – even with the protagonist learning and acting on a series of truths around him. While the intentions are good, the fight never extends to the ones in power – almost keeping them at a distance and eliminating the pawns along the way. There are no layers to be discovered, even though the core of the protagonist is intact – something that is such a shame given the powerful premise.
As a result, the drama felt spineless towards the end with a cop out so massive, that eerily reflects our current times today with regards to the stance of the left. The fight isn’t powerful enough to sustain, while always being content with smaller and frivolous victories on social media. That isn’t how a change is brought by – it needn’t be a revolution always, but it mustn’t be bleak and timid too. If only good intentions resulted in good cinema, even as the drama nose-dives at the end.
Dialogues, Music & Direction
The dialogues remain grounded and authentic to the setting of the drama. The BGM remains probing, almost blending itself with the atmospherics, and creating an array of hopelessly as an aftertaste. This, until the final act wherein even the background music suffers from a sudden simplistic shift in tone. The cinematography is encapsulates the gritty tone and the emotional trauma of the characters, while completely faltering with the frames at the end to sum up a familiar story.
The editing pattern is so choppy in the final act, that it almost gave me an impression that the OTT platform ‘probably’ didn’t wish to ruffle any feathers – being okay with delivering a lacklustre product in the process. The idea of bailing out at the end is clearly evident in a final act that demolished much of the good job with respect to its setting. And in doing so, it kind of ridiculed everything that it stood for. Director Pulkit scores with his world building and characterization at the start, but completely falters in the final act. In fact, the much talked about cop-out transferred the rage from the narrative to a hopeful viewer like me, angering me to no bounds. The direction isn’t polished here but taps into some important issues, but when the stumble is real – you know that the director has faltered.
Performances
The performances are pretty good other than that one act that sticks out like a sore thumb. I usually don’t like singling anyone out but Saurabh Dwivedi as Anand Shri is nothing short of a joke. On paper he may have been the perfect instance of anti-casting (even as aspiring actors in Versova may have had a heart attack), but his mechanical dialogues and a face devoid of expressions was enough to disconnect with his character – making him more laughable than intimidating. Suraksha Gaire as Preeti and Saurabh Abrol as Deepak are decent. Durgesh Kumar as Amar and Saharsh Kumar Shukla as Nirmal are top notch with their acts, both of whom possess bouts of measured intimidation.
Zakir Hussain as Harihar is understated while delivering a powerful act. Manish Chaudhari as Keshav is impeccable in a character that is shrewd and conniving. Yudhvir Ahlawat as Harpal is the find of the film for me, accounting for such pure emotions with his raw and unfiltered expressions that you instantly feel for his character and his fate. Rasika Dugal as Varsha is quietly sincere and earnest while being the emotional anchor for her husband. Sanjay Mishra as Ashok is a layered character with a wobbly base of loyalty, and he portrays that with an effortless ease.
Saif Ali Khan as Pawan is immaculate, almost accounting for an underlying vein of rage that is reflective in his body language and expressions. The vulnerability that he brings to his character is exceptional to witness, making his act phenomenal to witness. If only the writing was better….
Conclusion
Kartavya is mounted on a solid gritty premise that completely fizzles out in the final act, thereby making it a rather frustrating watch. If only good intentions could save a film from drowning! Available on Netflix.