? A Civilizational Statement?
Is “Dhurandhar” just a spy thriller, or something deeper? Vedic astrologer PV Narasimha Rao argues it’s a shift in India’s cinematic consciousness. For the quick summary of his review, read the Quick Read Version (#quickreads) here.
Among the many reactions to Dhurandhar, one of the most striking comes from Vedic astrologer and cultural commentator PV Narasimha Rao, who approaches the film not merely as entertainment but as a civilizational statement.
Rao describes the experience of watching Dhurandhar after years of formulaic spy thrillers as akin to encountering something authentic after prolonged artificiality. In his assessment, the film fuses two traditionally separate genres—espionage and organized-crime drama—into a single narrative framework that feels closer to a “Bond-meets-Godfather” construct than standard Bollywood spectacle.
What stands out for him is not any single technical element, but the coherence between writing, casting, direction, and thematic intent. He argues that the film’s real achievement lies in how it weaves fictional characters into recognisable geopolitical moments from the last three decades—events that remain sensitive and contested in public memory. Among the backdrops he identifies are the IC-814 hijacking, the 2001 Parliament attack, the 2008 Mumbai attacks, India’s demonetisation, and a series of covert counter-terror operations attributed to unnamed actors in Pakistan.
From Rao’s perspective, Dhurandhar deliberately breaks with what he calls a long-standing “post-colonial narrative” in Hindi cinema—one that, in his view, often flattened geopolitical conflict into moral equivalence or avoided confronting asymmetrical violence directly. He sees the film as consciously rejecting that framing, which explains, in his assessment, why sections of the media ecosystem were quick to label it as “propaganda.”
Performances as Political Language
Rao is especially emphatic about the performances. He singles out Akshaye Khanna as the film’s most defining presence, arguing that his portrayal of Karachi-based gangster Rehman Dakait elevates the antagonist beyond caricature. In Rao’s words, the character combines calculation, restraint, brutality, and an unsettling humanity—delivered through minimal dialogue and controlled expression. He places the performance in the lineage of iconic Hindi film villains whose roles redefined their careers.
He is similarly appreciative of R. Madhavan, who plays IB chief Ajay Sanyal, a character widely read as inspired by real-life intelligence figures. Rao notes the performance’s restraint—arguing that its power lies in suppressed anger, strategic calm, and ideological certainty rather than theatrical flourish.
In contrast, Ranveer Singh is credited for doing something atypical for his screen persona: holding back. Rao views this restraint as essential to the credibility of the undercover operative he portrays. Supporting roles—particularly those played by Arjun Rampal, Sanjay Dutt, and veteran actor Rakesh Bedi—are, in his reading, carefully cast to mirror real-world political archetypes without turning the film into a documentary.
Craft Over Gloss
On the technical front, Rao highlights the film’s chaptered structure, tight editing, and controlled visual language. He contrasts it sharply with glossy spy franchises, arguing that Dhurandhar opts for grit and consequence over spectacle-for-spectacle’s sake. Violence, when it appears, is deliberately uncomfortable—closer to moral shock than stylised action.
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At the same time, he offers clear caveats. The film’s A-rating, graphic brutality, and thematic intensity make it unsuitable for casual viewing. Rao also stresses that the narrative should not be reduced to a religious binary. In his interpretation, the film positions conflict as national and ideological rather than communal—explicitly acknowledging internal threats alongside external ones.
A Final Caution to Viewers
Rao closes his assessment with a warning against hero-worship. While he praises the craft of actors and filmmakers, he urges audiences not to conflate on-screen patriotism with personal ideology. Actors, he reminds, are professionals whose future choices may diverge sharply from the roles they inhabit.
Despite these cautions, his overall verdict is unambiguous: Dhurandhar represents a decisive shift in mainstream Hindi cinema—one that has resonated strongly with audiences despite, or perhaps because of, the backlash it provoked. The film’s sustained theatrical run, even into its third week, is, in his view, evidence that the narrative struck a deeper chord than online dismissals would suggest.
This analysis is based on the critical review by PV Narasimha Rao (X: @homam108), a noted cultural commentator and Vedic astrologer, offering a perspective distinct from mainstream film critics.
Do you agree with Rao’s assessment of the film? Let us know in the comments.
Hyderabadi Dhurandar Video Review
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