Dhurandhar, directed by Aditya Dhar, is, without exaggeration, an epic period piece—not just because of its runtime, but also because of the scale of its narrative. It tells the story of a man who joins the Karachi mafia, not only to act as a spy but also to rise through the ranks and become all-powerful. There are many things to talk about.

First of all, the cinematography was amazing, with sweeping landscapes that looked stunning. DOP Vikash Nowlakha did an incredible job, as the wide shots were mesmerizing. Along with editor Shivkumar V. Panicker, the film—despite being three and a half hours long—never feels exhausting; instead, it remains exciting. It feels like a Netflix series stitched into a movie, with the plot divided into six parts, each with titles that fit the theme. The production design was the best I have ever seen, done by Saini S. Johray. The recreation of Karachi, especially Lyari, where most of the story takes place, was exceptionally well done. From a quality standpoint, Dhurandhar is truly special. There is a lot of brutality, so it’s not for the faint-hearted. The blood and gore are not the main selling points; they are simply part of the story. All the technical aspects are excellent, but the story is what I really want to talk about.

The story, written by Aditya Dhar, feels a bit controversial. On one hand, the narrative focuses on Hamza, played by Ranveer Singh, and his journey is quite compelling. Watching his rise from the shadows to becoming the right-hand man of Lyari gangster Rehman Dakait is engaging. The depiction of spy work is also intriguing, showing how organized crime and terrorist activities are interconnected. The film even uses real-life footage to enhance authenticity. It references several real-life incidents, such as the Air India hijacking, the Parliament attack, the 26/11 Mumbai attacks, as well as the De La Rue controversies.

On the other hand, there are minor elements of propaganda that portray the current government in a positive light. Characters like Ajay Sanyal, played by R. Madhavan, seem to act as an extension of Aditya Dhar’s personal views, favoring the current government’s ideology. Through lines suggesting that the country should wait for a stronger government, the film attempts to present the current leadership as a kind of messiah. Some scenes feel emotionally manipulative—except for the 26/11 sequence, which stands out—while others come across as attempts to influence the audience. I am not against freedom of speech, but one must recognize the responsibility films carry in shaping real-world perceptions, as history has shown how powerful and sometimes dangerous that influence can be.

One thing I appreciate is that the film does not demonize Pakistani characters. They feel real and authentic, almost like reflections of what happens in India—politicians doing favors in exchange for money and power. We see them grieve, make impulsive decisions, and live normal lives. The film also shows how gangsters and politicians operate in Pakistan. Characters like Rehman Dakait, Uzair, SP Chaudhary Aslam, Jameel Jamali, and Yalina Jamali don’t feel like caricatures; they feel like living, breathing people. Hamza himself is a complex character, with a mysterious and traumatic past. The acting across the board is excellent, and even the light-hearted moments feel natural.

Now, let me talk about the best part of the movie: the music and soundtrack. Shashwat Sachdev proves to be a once-in-a-lifetime talent, enhancing every scene with his score. There are multiple standout songs featuring a variety of artists like Hanumankind, Jasmine Sandlas, Reble, and many others, along with some retro tracks being remixed. The stunt work and action choreography are brutal and extremely gory.

Overall, I have mixed feelings about this film. On one hand, it is technically well-made and highly engaging; on the other, it contains hints of propaganda that suggest certain actions were carried out by the government. I’ve tried to remain as impartial and neutral as possible. From a cinematic standpoint, it’s a very good film—provided you can overlook its heavy messaging. Don’t let the runtime intimidate you. I highly recommend it to those who can look past the propaganda and have a strong stomach.

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