I just finished watching “Dhurandhar,” and the sheer scale of the film has left me with a lot to unpack. This is a perfectly paced movie, running for a little over 3 hours and 30 minutes, a length I found absolutely ideal for full immersion in the story. It truly takes us into the setting of contemporary Pakistan, offering an experience that, in terms of sheer filmmaking, is absolutely mind-blowing.
The Good: Stunning Visuals and Gripping Performances
The cinema on display is beautifully crafted. There is nothing to complain about in the technical and performance aspects. Every single performance is stunning. The film is packed with gripping moments, stunning visuals, and very realistic gore content.
Some might argue the amount of gore is unnecessary, but my view is that to drive this kind of story—which deals with heavy, realistic conflict—it definitely needs the raw, visceral content it has. I am genuinely excited about the movie’s technical and artistic achievements in this regard.
My Core Concern: Painting Pakistan as the Villain
However, I do have a few significant concerns, mainly regarding the narrative’s potential impact on the Pakistani people.
The movie appears to paint a picture of Pakistan as a nation directly or indirectly responsible for most global terrorist crimes. It connects almost all terror attacks worldwide somehow back to Pakistan, which is the clear picture India seems to be trying to paint through this film.
I expected this narrative, but I feel the movie could have remained slightly more neutral in its approach. Showing that there is good among the common people, and that the issues lie primarily with politicians or specific elements, would have added a much-needed layer of complexity.
A Nod to Fairness, But Is It Enough?
The film does attempt to bring a touch of fairness by showing some negative actions done by India as well. For example, the poisoning of water flowing into Pakistan following the 26/11 attacks which resulted in the death of common people. This is shown in a way where the main character (Ranveer) expresses clear discomfort and shame at this “heinous act,” acknowledging that common people died. This fraction of a second of self-reflection is appreciated.
There is also a moment that shows the human part of Pakistan—the intimacy between an Indian operative and a Pakistani girl—which felt like a crucial, humanizing element.
The Unstoppable Issues and the Risk of Blaming
Despite efforts by Indian nationals to enter Pakistan, blend into the community, and undertake operations for their own benefit, the terrorist events, as the movie suggests, remain unstoppable, highlighting that the core issues persist.
My disappointment lies in the film’s overall tone. I feel that constantly blaming an entire nation only brings out the worst in them. It reminds me of the U.S. constantly blaming Russia, or a parent who criticizes one child all the time while only encouraging the other. This constant criticism can mentally impact the criticized party, sometimes leading them to embody the very faults they are accused of. The film’s narrative simply fails to give enough positivity to the Pakistani community.
Ultimately, “Dhurandhar” is a cinematic masterpiece with world-class performances and stunning visuals, but its heavy-handed geopolitical stance and reluctance to offer a more balanced view of its neighboring nation left a significant, disappointing impression.
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