Chapters of the unknown men
कर्मण्येवाधिकारस्ते मा फलेषु कदाचन।मा कर्मफलहेतुर्भूर्मा ते सङ्गोऽस्त्वकर्मणि॥
"You have a right to perform your prescribed duties, but you are not entitled to the fruits of your actions. Never consider yourself the cause of results, nor be attached to inaction."
— Bhagavad Gita 2.47
Dhurandhar is a 2025 spy-action thriller film available on Netflix: Image supplied by Angelina Michael
A hijack and a terrorist attack carried out in broad daylight – these set the prologue of the two-part film series, Dhurandhar. A small yet seemingly insignificant chapter, when expanded upon, delivers a story that shakes the spectator with its brutality. This is not just a story that unfolds — it is one that lingers, demanding reflection long after the screen fades to black.
The first film of Dhurandhar series stormed into the theatres in December 2025, wooing the audience with its fearsome portrayal of the infamous Pakistan-based gangster Rehman Dakait and The Jinna.k.aSP Chaudhary Aslam. Of course, there is no major doubt that every character that we meet in this franchise leaves an indelible mark on us. Every minute counts, every conspiracy, every twist and turn in the story leads to further chaos, giving us a further sense of dread. Leaving the political debate for another day, let us take a look at a few of the aspects of this monumental blockbuster.
The previous film left the audience on a major cliffhanger and this sequel opens with our protagonist’s tragic past. The conversation between Ajay Sanyal (played by R. Madhavan) and Hamza Ali Mazari (played by Ranveer Singh) sets the tone for the rest of the story with its three magic words – “HONSLA. EENDHAN. BADLA”. This conversation is a parallel to the iconic conversation between Lord Krishna and Arjuna on the battlefield of Kurukshetra. It lays the foundation for the resolute attitude that Hamza has to embrace to take a leap and find his purpose in this broken world.
The film centres around the fate of our protagonist, a prominent figure in the politics of Lyari, and his drive to protect his country. He sets his eyes on the throne of Lyari and shakes hands behind closed curtains, drawing the attention of the man pulling the strings. Despite the losses he faces, he has to hold on to his obsession to fuel himself and protect his country from the heinous network of terrorists who seek to dismantle and lay waste to his motherland. It is the director’s (Adithya Dhar) way of telling us to approach our duty - not as a choice, but as an inevitable calling of the soul.
The film weaves real-life characters and incidents into the background of Hamza’s journey, adding layers of realism to Dhar’s story. Right from Uzair Baloch (played by Danish Pandor) playing “football”, to the demonetization policy implemented by the Indian Government in 2016, the film immerses us in the dark world they live in. We come across references to the Uri attack and the death of Atiq Ahmed on camera. By drawing from real-life security incidents, Adithya Dhar grounds his story within our world, making the film’s conflicts feel immediate and unsettling rather than purely fictional.
The film’s storytelling follows Dhar’s signature storytelling style of employing chapters and visual language to narrate each section that builds up to the cathartic end. With each chapter, the political turmoil worsens and the stakes become higher. This has also been observed in his directorial debut “Uri: The Surgical Strike”. The film centres around the themes of a quiet patriotism that speaks through actions, instead of the traditional chest thumping expression. One of the film’s most effective techniques is the use of natural lighting and the lingering darkness. As the story progresses, the dark roads and dim lighting are used to convey the harrowing violence that the places have witnessed. The action sequences are shot with technical accuracy and intense choreography that draws from the tactics of the armed forces.
Throughout the movie, we see various environmental cues or artworks that act as a visual metaphor to the unspoken stories. The most important lines spoken are shown in the old fashioned bold red characters for the audience to process, letting the mind digest the weight of the words. It is his crafty way of indicating major turns. The bold visual language is further enhanced by the witty script that cements the depth of this story. This script is given adequate pauses and background music, without any part feeling odd or forceful.
A major (and one of the most important) aspect of this movie is artful use of music. The discography of this movie can never be given enough credit. It is carefully placed to convey feelings and wishes that words cannot. It takes old accredited songs such as Aari Aari, Tamma Tamma and Oye Oye, and remixes them to fit the modern era. These songs were skilfully combined with rap and rock music. This can be interpreted as a nod to music as a living organism — constantly adapting, yet rooted in its original essence. In many ways, the music becomes the film’s unspoken language, expressing what its characters cannot.
Dhurandhar revolves around its silent appreciation for the armed forces and the masked men who serve in the dark to protect us. Hamza’s patriotism and sacrifice become the underlying message of the story. Every line in the movie is a reflection of this quiet endurance that goes unawarded. By the end, sacrifice is no longer an idea to be admired, but a weight to be carried. Dhurandhar does not ask to be understood — it asks to be felt. With Phir se playing in the background, the movie ends on a bittersweet note –
बलिदान परम धर्म।
“Sacrifice is the Supreme Duty”
Indian Army Parachute Regiment’s War Cry
references
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Ahmed, K., & Ahmed, K. (2015, January 29). The Dacoits of Lyari. Newsweek Pakistan. https://www.newsweekpakistan.com/the-dacoits-of-lyari/#google_vignette
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