Dhurandhar: The way, the wave, the change, the lesson

Dhurandhar: The way, the wave, the change, the lesson

The year 2025 for Hindi aka Bollywood or even if I say Indian cinema has not ended on a ‘Dhurandhar’ (in simple rough English a stalwart, an expert) note, it has started on a ‘Dhurandhar’ note.

The Aditya Dhar’s unapologetic, bold, brilliantly crafted espionage thriller though made on a familiar template has broken many molds and redefine mainstream popular nationalist cinema that predominantly caters to the sentiments of the nation.

Shooting the Indo – Pak aman/bhaichaara capsules loaded trucks by the industries secular pseudos and wokes’ with point blank range and reducing it to ashes, the Tigers, Pathaans and Kabir’s of YRF’s Spy Universe will definitely have a very tough time from now.

But, its not just about the spy universe, it’s the sort of civilizational revolution witnessed around the entire nation, during emergency when Amitabh Bachhcan’s angry young man persona found it eyes and ears in millions and billions of Indian hearts because it echoed their frustration, anger towards the system, ‘Dhurandhar’ in the same way has echoed the sentiments of the nation which kept on soaring with a loud and clear chorus – THIS IS WHAT WE WANT.

On its 24^th day the shows of ‘Dhurandhar’ were running after midnight. Till the writing of this article ‘Dhurandhar’ has registered a net collection of 686.00 Cr and has beaten all the Pushpa’s and Baahubali’s from the south, the Aditya Dhar film has even outperformed the Hollywood giant James Cameron’s Avatar : Fire and Ash’, ab koi nahi kahega ki Hindi cinema mein wohh mass appeal nahi hai, in fact ‘Dhurandhar’ will serve as an example on how to make a ‘realistic’ action thriller, it may or may not have nationalism but as far as impact, presentation, characterization, technique, treatment, ‘Dhurandhar’ is now a benchmark in its genre.

Like RGV’s ‘Satya’ is a benchmark in gangster sagas, Ramesh Sippy’s ‘Sholay’ in wholesome entertainment. Such a phenomenon is rare and doesn’t happen once a year, it takes an understanding, passion for cinema since years to deliver such brilliance on screen.

It becomes more overwhelmingly striking to know that ‘Dhurandhar’ is Aditya Dhar’s second film as a director and as a storyteller he has excelled beyond expectations.

Like ‘Sholay’ or ‘Satya’ where each and every department – camera, editing, background, sound, location etc was important, each and every character was significant, in the same way ‘Dhurandhar’ has excelled in each and every department. The background score from Shashwat Sachdev travels from 50’s to the current era, from Roshan saab’s qawwali ‘Na toh karva ki talash hai’ from the 1960 film ‘Barsaat Ki Raat’ to the disco of the 80’s to the Hanumankind of today’s making it both nostalgic and happening from time to time. Vikash Nowlakha’s cinematography is award winning. Action and stunt by Aejaz-Gulab, Sea Young Oh, Yannick Ben and Ramazan Bulut are bloody brutal and at times mad but its breathtaking and many times justifies the impulsive mad aggression.

Saini S. Johray’s production designing, Yogesh Bansode and Nilesh Choudhari’s art direction is class, imagine creating a Pakistani town in Thailand and Shivkumar V. Panicker’s editing is extraordinary.

Now coming to the part that distinguishes ‘Dhurandhar’ from the other hero oriented/protagonist driven sagas. In a rare and unseen phenomenon since ages and witnessed in movies like ‘Sholay’ and ‘Satya’ the protagonist (in ‘Sholay’ its more difficult to circle the main lead) and ‘Satya’ it’s Bhiku Mahatre played by Manoj Bajpayee that takes major credit, similarly ‘Dhurandhar’ in its first part starts revolving around Rehman Dakait played by Akshaye Khanna who is mesmerizingly magical. The protagonist played by Ranveer Singh ( excellent job) get dissolved in the narrative.

Honestly, when I read veteran actor Rakesh Bedi’s who quotes from his interviews before the release of ‘Dhurandhar’ I thought he is spoiling the prospects of the movie. Rakesh Bedi who plays Jameel Jamali in the film, went to the extent of saying that ‘Dhurandhar’ will be ‘Sholay’ of today’s era. Now his words do carry some merit, no there is no comparison with ‘Sholay’ but just like ‘Sholay’ ‘Dhurandhar’ sets a benchmark in technicalities, making and characterizations and it has grown with word of mouth, though I do not deny politics behind and the bad mouthing of naysayers had actually helped the movie, its surely a phenomenon which has a vast range and that’s the reason it’s a fire which refuses to settle down.

For a change and a very good and significant one - ‘Dhurandhar’ carried the mood of the nation and when the Indian audience realized that it’s speaking their voice, the echoes became deafening with a chorus day after day.

Every filmmaker has a dream of achieving this point, were his feeling and sentiment as an audience first and then as a filmmaker resonates with the feeling and sentiments of the nation. What’s wrong in having a viewpoint, the ‘beech ka rasta’ (diplomatic middle way), aman ki bhasa, is not required while dealing with the enemy at adverse situations.

An important point, ‘Dhurandhar’ should not be mistaken as a violent rant, an aggressive outburst, the movie does have human emotions intact in its brutality laden mission.

So, filmmakers of this particular genre should understand the sentiment behind, the mood of the nation before writing their future crime/spy thrillers. 

The year 2026 begins with two patriotic movies – ‘Ikkis’ and ‘Border 2’ though those are war films and not an espionage/spy thrillers but if these movies are able to resonate the nations mood and sentiments and don’t indulge in becoming peace pigeons echoing the fake global voices by the so-called global superpowers who in fact are the biggest hypocrites in the name of peace then it’s a great sign.