Chapter 1: The movie-going experience
Due to prior horrid experiences related to popcorn prices rivalling real estate rates in Bengaluru, I rarely go to the multiplexes. As some other viewers have pointed out, theatres are still allowing children into an 'A' rated film. These children use the aisles as playgrounds, which is annoying for all. I blame the parents and the multiplex establishment for spoiling the move-going experience for others. But it was worth putting up with these issues for Dhurandhar.
Chapter 2: Why should you watch this film?
When pseudoseculars are trying their best to diss the film, one should deduce that Dhurandhar is an important event not to be missed. The subject matter is of national importance, and a welcome change from the ridiculous dolled-up versions of spy movies that pander to the superstars' chavanni audiences. The theatre that I went to, I am glad to report, was full with people of all age groups - young, middle-aged, elderly - all enjoying and reacting to the drama in a manner that suggested that they were aware of the importance of this film.
Chapter 3: The plot
Spy infiltrating an enemy camp is not a novel concept, but Dhurandhar is based on a real person, albeit with a few additions/deletions to the story. I believe that the other characters are also based on real people. Dhurandhar is an unabashedly rousing depiction of the hatred and evil machinations that gangs and terrorists are capable of, especially towards India and Hindus. This, in itself, is a refreshing change from the pseudosecular and atheist (read anti-Hindu) drivel that kept us sedated in the 70s, 80s and 90s.
One can see why the runtime is as long as it is, and one does not feel it as the narrative is so engaging. There is also enough scope for another part to address the back stories of the lead and other characters.
Chapter 4: The acting
This is first-rate throughout. The uncharacteristically restrained performance from Ranveer Singh, the measured approach of Madhavan who has the best one-liners, the brooding menace of Akshaye Khanna, the understated terrorist demeanour of Arjun Rampal, and the over-the-top presence of Sanjay Dutt add to the action-thriller appeal.
Surprise packages are Gaurav Gera as a senile, serious-faced shopkeeper, a far cry from his 'Nandu' days, and Rakesh Bedi as the chameleon politician; can't believe he is the same Dilruba from Shrimaan Srimati who goes 'Dollll' with a downturned hand. Sara Arjun (whose name, I naively believed, is a composite of Sachin Tendulkar's children's names!) holds her own against the veterans.
Dhurandhar is a career-defining event for all these actors.
Chapter 5: The technical details
Again, everything is fantastic. Given the fact that it is unlikely the film was shot in Pakistan (which has expectedly banned the film), the set design looks authentic. The world building is amazing; cinematography, editing and sound add to it. Aditya Dhar is setting new benchmarks, and it is a joy to witness the change in the subject matter of his films from that of his contemporaries; consider Uri, Baramulla and now this.
Chapter 6: The music
Special mention for the background music and the songs. Shashwat Sachdev is at his best with the song compositions and remakes of old songs. Each track is a banger, which is pleasantly surprising, because in a film of this nature, the drama and action speak for themselves even without songs. I absolutely loved the retro songs enlivening certain key sequences; Rambha ho! (how good Usha Uthup's voice sounds even today in a theatre!), Monica O my darling! and Hawa Hawa add a touch of nostalgia.
Here's my wishlist for the next part: Shaan title songs (both the Usha Uthup and the Asha Bhonsle ones), Aapka kya hoga janab-e-ali from Laawaris, Mehbooba mehbooba from Sholay, and Zubi zubi from Dance Dance.
Chapter 7: The message
Dhurandhar is a paan-juice spit on the faces of those who try to hide the truth of Pakistan's terrorist identity. We have borne the brunt of being their neighbours for a long time which the world had ignored - until now. Dhurandhar has single-handedly done what no diplomatic effort has managed so far - bring the world's attention to the fact that Pakistan is a terror haven and the epicentre of global terrorism.
One loses count of the number of attacks perpetrated by nonstate actors from that country, of which only 3 major ones are shown in the film. Finally, the world gets to experience these; full marks to the makers for inserting real conversations from the 26/11 terrorists and their handlers.
The thing is, Pakistan is a paranoid, insecure entity whose insignificance in the larger world order compels it to draw attention through its ultra aggressive actions. As a result, one cannot say where their army ends and terrorism begins. Their agenda is ostensibly Kashmir, but really, it is ghazwa-e-hind.
I salute all the 'unknown men' who work unsung and unrecognised to keep us safe from such agendas.
Final chapter: The bloody pseudoseculars!
What the hell do the pseudoseculars of India want? Why are these snakes in the grass - with due respect to the snakes - up in arms each time a pro-India film comes out? What is it that they get from their anti-India, pro-terror stance? Do they want us to roll over and die each time a terror attack occurs?
Consider these gems:
Anupama Chopra is the critic wife of a producer/director whose criticism is critically reserved for pro-India films. Apparently, she is concerned about the 'inflammatory anti-Pakistan narrative' of Dhurandhar, but is happy with the 'palatable patriotism' of the ludicrous Pathaan. Sure, film criticism is a subjective exercise, but why are her reviews biased against films that narrate our truth? Perhaps she is in need of some anti-inflammatory tablets on her palate to 'get well soon' from her critical state!
I am a major fan of Hrithik Roshan because of his looks, acting and dancing. But when he says things like 'I do not agree with the politics of the film', I have to draw the line, and ask, 'what exactly do you mean by that?' It is what it is. What we have endured over the years has been shown with a lot of reality in this film. So what exactly do you disagree with? All provocations came from them, we only responded to those provocations. Ironic coming from an actor who mouthed lines like 'India-occupied-Pakistan' in Fighter.
Radhika Apte is apparently unhappy about brining up a child in an atmosphere of violence shown in the film. It's rich coming from an actress whose character was shot in the forehead in the ultraviolent and sexually explicit series, Sacred Games, not to mention a few other violent films she has acted in (try Rakta Charitra, Badlapur and Vikram Vedha, the last of which also starred Hrithik). For the record, the violence does not appear gratuitous in Dhurandhar. If anything, it fits the narrative; it's... apt!
Anything that blows the lid off the radical ideology behind terrorist attacks and religious conversions is dubbed a 'propaganda movie' by people across the borders, and by their pseudosecular stooges here (consider The Kashmir Files and The Kerala Story). By this measure, Schindler's List should be the most propagandist movie ever - against the Nazis!
I hope Dhurandhar 2 continues to be as 'inflammatory', 'political' and 'violent' as the first one, and blows the lid off more evil acts perpetrated against India and Hinduism.
Dhurandhar gets 10/10 on IMDb from me, and goes straight into my list of movies to watch about India.