25 July,2025 01:13 PM IST | Mumbai | Athulya Nambiar
Still from Sarzameen
Sarzameen had all the right ingredients - backing from Dharma Productions, a unique ensemble cast, and a debut director who had earlier impressed with the short film Ankahi. Clocking in at just a little over two hours, the film quickly sets up its central conflict and tries hard to tug at the heartstrings but ultimately falls flat.
Director Kayoze Irani describes Sarzameen as an emotional thriller, but unfortunately, it manages to be neither emotional nor thrilling.
Prithviraj plays Captain Vijay Menon, a soldier stationed in Kashmir with his wife Mehr (Kajol) and their son, Harman (Ibrahim Ali Khan). Vijay is ashamed of his son, who stammers and lacks his father's courage. Kajol's character is the archetypal doting mother, often clashing with her husband when he expresses disappointment in their child.
During a mission, Vijay captures two wanted terrorists from across the border. In retaliation, his son is kidnapped. A deal is proposed: the terrorists in exchange for his son. But Vijay backs out, choosing his country over his child. And no, this isn't a spoiler- it's all shown in the trailer. The story then jumps ahead eight years, when Harman is reunited with his family, though he's no longer the same and soon, the family faces a new threat.
The film spectacularly abandons logic at every turn. Vijay, as a character, is one-dimensional, entirely defined by his patriotic fervour. He's willing to sacrifice anything, or anyone, for his beloved Sarzameen.
Kajol's Mehr is reduced to just one trait- being a devoted mother. Yet even that is not well developed. Upon learning that her husband chose the nation over their son, she simply sheds a few tears and moves on, showing barely any resentment or emotional conflict.
The central trio, portraying a family torn apart by war and ideology, share little to no chemistry. The film works overtime trying to stir familial sentiment, especially exploring generational trauma between father and son. But blasting loud emotional background scores in every scene is no substitute for real depth. The result: viewers struggle to connect.
Prithviraj and Kajol do what they can with the material they're given. Ibrahim Ali Khan had shot for this film before Naadaniyaan, making this his debut, technically. Unfortunately, much like his OTT debut, Sarzameen doesn't do him any favours. His performance lacks emotional range, especially in moments that demand internal conflict and moral struggle. Mihir Ahuja plays a stereotypical militant in the film.
The writing feels undercooked, with little to no effort made to understand or portray military operations authentically. Everything- from enemy infiltration to covert hideouts- feels too convenient. While the film is meant to focus on the family dynamics, a little attention to detail on the army backdrop could have lent credibility and helped viewers invest in the narrative.
Kayoze Irani showed promise as a sensitive storyteller in Ankahi, featuring Shefali Shah and Manav Kaul. Sadly, Sarzameen does not live up to the potential of that short film.
If there's one thing that slightly redeems the film, it's the music. While the songs don't necessarily elevate the narrative or deepen the emotions, the compositions by Tanuj Tiku themselves are well-produced and pleasant to listen to.
Sarzameen wants to stir deep emotion in its audience through sentimental lines, tragic turns, and heavy-handed music. But none of it strikes a genuine chord. The plot holes are far too glaring, leaving viewers confused about what they just watched and wondering where it all went wrong.
