With scale, authenticity and global ambition, the film is being hailed as a defining moment for the industry
Our Bureau
Mumbai
When Dhurandhar: The Revenge released worldwide on March 19, it arrived with the weight of expectations that often accompany sequels. Yet, within days, the film began to carve out a reputation not just as a commercial success but as a cinematic milestone. Among those who have endorsed its impact is Pankaj Saran, former Deputy National Security Advisor of India, who has described the film as setting “a new benchmark for the Indian film industry.”
In an interview, Saran underscored what he saw as the film’s defining achievement: its professional execution and its commitment to portraying real incidents with authenticity. He framed the film as a product of a maturing industry—one that is increasingly aligned with global filmmaking standards. According to him, the director’s “artistic” approach enables the narrative to remain grounded in reality while still appealing to a wide audience.
“I love the film. I love Dhurandhar 2 more than Dhurandhar 1,” Saran said, placing the sequel above its predecessor. While he acknowledged that “the violence… was a little over the top,” his broader assessment was unequivocal. “In terms of cinema, in terms of production, in terms of skills, in terms of quality, I think it sets a new benchmark for the Indian film industry. I think it’s going to be very difficult for anyone to match up.”
Such praise points to a shift in how Indian war dramas are being perceived. Saran contrasted the film with earlier portrayals of conflict, particularly those influenced by Hollywood. He noted that audiences “have grown up with seeing all kinds of war movies,” but described many of them as “amateurish” in comparison. For him, Dhurandhar: The Revenge stands apart because of its technical polish and narrative conviction.
“This one is really professional,” he said, emphasizing the film’s departure from earlier conventions. The difference, he suggested, lies not only in production values but also in the treatment of history and character. The film draws from real incidents, with “names, people” that are “real” and “true,” lending it a degree of authenticity that anchors its storytelling.
At the same time, Saran acknowledged the role of creative interpretation. He referred to the long-standing tradition of cinematic exaggeration, particularly in Hollywood, where films have often “make caricatures of Nazis, of the Russians, and create that enemy image.” In that context, he defended the use of artistic license in Dhurandhar: The Revenge, arguing that it is consistent with global filmmaking practices.
“I think it’s fine if the director has decided to use artistic license to exaggerate a particular story and it’s all based on real incidents,” he said. “I think it needs no justification because it is pretty much in keeping with the culture of movie making globally.”
The director in question, Aditya Dhar, is no stranger to critical acclaim. Dhurandhar: The Revenge marks his second film after his debut, Uri: The Surgical Strike, which established him as a filmmaker capable of blending national narratives with cinematic intensity. With Dhurandhar, Dhar appears to have built on that foundation, delivering a sequel that not only expands the story but also elevates its scale and ambition.
The film’s cast further reinforces its stature. Led by Ranveer Singh, the ensemble includes Arjun Rampal, R. Madhavan, Rakesh Bedi and Sanjay Dutt, with a cameo appearance by Yami Gautam. The film is a direct sequel to Dhurandhar, which was released the previous year, continuing a narrative arc that has clearly resonated with audiences.
That resonance is evident in its box office performance. According to film trade analyst Taran Adarsh, the film has crossed Rs 800 crore after its second weekend. The numbers reflect not just commercial success but also the scale of audience engagement, suggesting that the film’s appeal extends across demographics and geographies.
Taken together, these elements—critical endorsement, technical sophistication, narrative authenticity and commercial success—form the basis of the argument that Dhurandhar: The Revenge represents a turning point. It signals an industry that is increasingly confident in its ability to tell its own stories with both precision and spectacle.
Saran’s assessment captures this moment succinctly. By placing the film within a global context while acknowledging its local roots, he frames it as both a culmination and a beginning: a culmination of years of evolving craft, and a beginning of a new standard that others may now be measured against.
If his prediction holds true, the benchmark set by Dhurandhar: The Revenge will not be easy to surpass.
