Aditya Dhar’s films, *Dhurandhar* and *Dhurandhar: The Revenge*, defy modern viewing habits, captivating audiences with their intricate storytelling and strong performances, despite the dominance of short-form content.
As a self-proclaimed moviegoer who rarely revisits the theater for a second viewing, I found myself making an exception for *Dhurandhar*. Not only did I watch it twice in the theater, but I also caught its sequel, *Dhurandhar: The Revenge*. This is a testament to the film’s gripping narrative and engaging performances.
Following the success of *Uri: The Surgical Strike*, director Aditya Dhar set high expectations with *Dhurandhar*, and he managed to surpass them. The film is an Indian spy thriller set in Lyari, Pakistan, intricately woven into real historical events such as the IC-814 hijacking, the 2001 Parliament attack, the 26/11 attacks, and even the demonetization of currency. Dhar’s ability to blend fact with fiction creates a narrative that blurs the lines between history and storytelling.
Now, let’s address the standout performance of Ranveer Singh. As a devoted fan of Shah Rukh Khan, it’s not easy for me to admit that Singh’s portrayal in *Dhurandhar* rivals that of the King Khan himself. Singh’s ability to convey deep emotion through his eyes, particularly in his roles as Hamza and Jaskirat, is remarkable. He approaches this character with a quiet intensity, eschewing his usual high-energy style for a more nuanced and layered performance.
Both *Dhurandhar* and *Dhurandhar: The Revenge* are undeniably anchored by Singh’s performance. This is no small feat, considering he shares the screen with talented actors like Akshaye Khanna and Arjun Rampal.
Speaking of talent, Akshaye Khanna’s portrayal of Rahman Dakait is electrifying. The tension between his character and Singh’s is palpable, creating some of the most intense scenes in recent Indian cinema. There’s no reliance on over-the-top action or CGI; instead, it’s a masterclass in screen presence and dramatic tension.
Arjun Rampal’s character, Major Iqbal, adds a menacing presence, though he feels somewhat less dynamic compared to Khanna’s Dakait. While Rampal delivers a solid performance, the character lacks the layers and unpredictability that Khanna brought to the first film.
One of the most delightful surprises in the *Dhurandhar* saga is Rakesh Bedi. In a film filled with prominent names, Bedi’s performance stands out as nearly equal to Singh’s. Dhar’s ability to give Bedi the space to shine is a testament to his directorial skill.
The cinematography and direction in *Dhurandhar* are nothing short of stunning. The film’s music, composed by Shashwat Sachdev, deserves special mention. He skillfully reworks classic tunes, integrating them into the narrative in a way that feels organic rather than nostalgic. The background score enhances the action sequences and evokes emotion during pivotal moments, making the music a character in its own right.
Despite its nearly four-hour runtime, *Dhurandhar* never drags. The chapter-by-chapter storytelling and tight pacing keep the audience engaged. In contrast, I found *Dhurandhar: The Revenge* slightly less compelling. With the plot established in the first film, the sense of mystery and discovery that made *Dhurandhar* feel like an immersive journey is diminished in the sequel. At times, it feels more like a documentary than a narrative film, which detracts from the overall experience.
Some scenes in the sequel could have been omitted without affecting the story. For example, a sequence involving the killing of medical students felt unnecessary and did not contribute to the narrative.
Additionally, I must address the level of graphic violence in both films. As someone who is not a fan of gore, I found myself questioning the need for such graphic detail in certain sequences. While the brutal world depicted in the films calls for a degree of realism, there is a fine line between visceral and gratuitous. In some instances, the depiction of violence crossed that line, and I believe the films would have benefitted from a more restrained approach.
In a world increasingly dominated by short-form content, *Dhurandhar* stands out. We live in an era where platforms like Instagram, YouTube, and TikTok promote brief, bite-sized content, leading to shorter attention spans. Yet, Aditya Dhar has created two films with a combined runtime of nearly eight hours, designed for the cinematic experience. Audiences, both in India and globally, have embraced this lengthy storytelling, proving that the appetite for quality long-form narratives is far from dead.
*Dhurandhar* has achieved remarkable success, grossing over ₹1,350 crore (approximately $145 million) worldwide, making it the highest-grossing Indian film of 2025 and the highest-grossing A-certified Indian film of all time. Its sequel, *Dhurandhar: The Revenge*, has also made history, becoming the first Bollywood film and only the third Indian film to surpass ₹1,000 crore (over $100 million) at the domestic box office.
In North America, *Dhurandhar* has dethroned the long-standing record set by *Baahubali 2: The Conclusion*, grossing over $25 million and becoming the highest-grossing Indian film in that territory.
With *Dhurandhar 2* already amassing over ₹1,525 crore (approximately $165 million) worldwide, it is poised to challenge the record set by *Pushpa 2*, which stands at around $205 million. This achievement is particularly noteworthy given that the film faced bans in several West Asian countries, typically a significant market for Indian films.
To put this franchise’s success into perspective, *Dhurandhar* is the only Indian film series to have two films each crossing ₹1,000 crore (over $100 million) globally. Audiences have not only watched these films; they have returned for repeat viewings.
As for me, I did what I rarely do: I went back to the theater a second time. It seems I was not alone in this decision.
According to India Currents, the *Dhurandhar* saga has redefined audience expectations and demonstrated the enduring power of compelling storytelling in cinema.