This is not the first time a biographical war drama on a fallen hero has been adapted for the screen, but Sriram Raghavan’s first war film hits differently. Ikkis is more than just a tale of bravery, it is about love, loss, grief, and the hope for a peaceful tomorrow
Still from Ikkis
Sriram Raghavan’s Ikkis is based on the life of Second Lieutenant Arun Kheterpal, who was martyred on the battlefield during the India–Pakistan war of 1971. He was just 21 at the time, but his bravery went on to inspire generations. From the moment the film was announced, it was a known fact that it would chronicle the courageous life of Arun Kheterpal. This is not the first time a biographical war drama on a fallen hero has been adapted for the screen, but Sriram Raghavan’s first war film hits differently. Ikkis is more than just a tale of bravery, it is about love, loss, grief, and the hope for a peaceful tomorrow.
Ikkis also marks the final film of Dharmendra, who passed away on November 24. He plays retired Brigadier Madan Lal Kheterpal, who visits Lahore 30 years after his son’s death. The visit is to attend the centenary celebrations of his school, as he grew up in undivided India. For him, the journey becomes an unfolding of his son’s last days as he exchanges memories with retired Pakistani army officer Brigadier Jaan Mohammad Nissar (played by Jaideep Ahlawat).
Ikkis is a propaganda
The narrative moves between 2001 and 1971, as Dharmendra and Jaideep recall stories of Arun and his bravado, often reflecting on his personal life. The timeline — if you have watched Dhurandhar — will remind you of the Aditya Dhar directorial. However, the imagination of Lahore in both films is starkly different. While Dhurandhar’s Lahore was shrouded in darker tones and crowded streets, Ikkis presents a city filled with colour — in its outfits, houses, and in the absence of constant 'maqsad-driven' conversations.
Dhurandhar’s release also sparked discussions about it being a propaganda film. Ikkis, too, is a propaganda film but one that propagates love, peace, and harmony. This is not to say that the film ignores the strained relationship between the neighbouring countries since 1947. Dharmendra’s arrival in Lahore comes on the heels of the Kargil War, with Pakistan’s intelligence team alert and tracking his movements. At one point, a Pakistani soldier who has lost a leg in the war storms into the house where Dharmendra is staying and demands that he be thrown out. Dharmendra, with his signature charm, hugs the man and tells him that the war took his son away from him. The man calms down. It may seem unrealistic given the current political climate, but this is where the film embraces its dreamy propaganda; a film that insists the outcome of war is always loss. There are no real winners. Perhaps there are survivors in numbers, but never in spirit.
A fitting final film for Dharmendra
Ikkis is a befitting swansong for Dharmendra. He appears on screen with his unmistakable charm, a smile that makes you smile, and words that make you think. Delivered in his frail yet unmistakably He-Man-like voice, his performance hits a deep emotional nerve.
Ikkis also marks Agastya Nanda’s first theatrical outing. His debut in The Archies was an average affair, but here, he is perfectly cast as a 21-year-old determined to fight for his country, yet immature in certain aspects of life; understandably so, given his age. Agastya brings out the naivety of a young man who believes strictly in rules, along with the passion of youth, whether in love or in war.
Jaideep Ahlawat, as always, is brilliant as Brigadier Jaan Mohammad Nissar, a retired Pakistani army officer with much to reflect upon in life. The story unfolds through his and Dharmendra’s perspectives. Simar Bhatia makes a strong impression in her debut role as Kiran Kochar, despite limited screen time. Vivaan Shah plays a senior army official who is determined yet sensible, while Rahul Dev portrays an assertive senior officer. Sikandar Kher brings a unique element to his role as the army official who trains Arun Kheterpal and his team.
There are certain elements, especially in the first half that feels like a drag but the second half is quite rewarding. The music by Sachin-Jigar blends well into the narrative.
At a point in the film when Arun Kheterpal crosses the border into Pakistan for the first time, looks at his colleague and says with amusement 'Sab toh same hai' . Sticking to this thought, cinematographer Anil Mehta captures the landscape of Pakistani villages and cities which in more ways than one are similar to India.
Ikkis may be rooted in war, but it ultimately chooses humanity over heroics. Sriram Raghavan delivers a film that honours Arun Kheterpal’s courage without glorifying conflict, reminding us that behind every medal is a family that grieves and a future that is forever altered. It is gentle, reflective, and quietly powerful, war film that mourns loss as much as it celebrates valour.
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