Salman Khan’s latest film, Sikandar, has descended upon theaters as the quintessential Eid blockbuster, promising adrenaline-pumping action and grandiose heroism, hallmarks of the superstar’s career. Directed by A.R. Murugadoss, renowned for previous hits like Ghajini and Holiday, Sikandar is an extravagant commercial entertainer tailored for Salman’s dedicated followers. Set amidst royalty and vengeance, the film features Salman as Sanjay Rajkot, a regal king turned vigilant crusader, adopting the moniker Sikandar following a tragic incident involving his wife, Saishree Maharani, played by Rashmika Mandanna.
The narrative follows Sanjay’s relentless quest for revenge against a powerful political mafia led by a merciless minister portrayed by Sathyaraj and his violent son, played by Prateik Babbar. The subplot involving Saishree pledging her organs for donation, which connects Sanjay to the recipients, has potential for emotional depth but remains largely unexplored. The storyline unfolds as a predictable path of vengeance, echoing Salman’s previous roles in films such as Dabangg and Wanted. Despite the plot’s promise, the execution leans heavily on exaggerated action scenes and Salman’s star power rather than a captivating narrative. Sikandar is undoubtedly a Salman Khan-centric spectacle, from his grandiose entry scene, dispatching numerous adversaries single-handedly, to his iconic slow-motion strides and intense one-liners. Salman commands the screen with dialogues like “Main Sikandar hoon, aur Sikandar kabhi haar nahi maanta!” which are bound to provoke cheers in theaters.
Despite the magnetic aura Salman Khan embodies, his performance in Sikandar lacks the emotional nuance observed in roles like Bajrangi Bhaijaan or Sultan. Rather than delivering depth, he emerges as an invincible hero—a larger-than-life persona that, while entertaining, borders on redundancy. The excess of action overshadows the emotional scenes with Saishree, depriving his character of the sensitivity it could have held, reducing it to mere melodrama.
Rashmika Mandanna, one of Bollywood’s emerging talents, finds her character Saishree underutilized. Primarily serving as a plot device, her character exists to fuel Sanjay’s vendetta, with the romantic subplot between them feeling strained, partly due to their noticeable 31-year age difference, which the film does little to address. Their chemistry is noticeably absent, diminishing the investment in their love story. Even in emotionally charged scenes, Rashmika’s potential remains untapped, with superficial flashbacks replacing substantial backstories, robbing her role of impact. While the film could have delved deeply into their relationship, it favors style over narrative substance.
The action sequences, although entertaining for Salman aficionados, often come off as unrealistic and exaggerated, potentially alienating viewers seeking grounded storytelling. Emotional depth is another aspect the film struggles with. Sanjay’s grief, Saishree’s organ donation subplot, and his bond with the recipients are superficially executed, relying on dramatic slow-motion shots and overpowering background music attempting to evoke emotions that are not truly cultivated. The antagonists, played by Sathyaraj and Prateik Babbar, fail to deliver a menacing screen presence comparable to iconic Salman Khan villains like Prakash Raj in Wanted or Sonu Sood in Dabangg. Their lack of depth and screen command renders them forgettable, diminishing the impact of Salman’s victories.
A glaring irony within Sikandar’s plot is the minimal screen time shared between Salman and the main antagonist, culminating in only brief encounters at the film’s beginning and end. This deficiency in a compelling hero-villain dynamic weakens the overall conflict, leaving the climax feeling unsatisfying.
Ultimately, Sikandar embraces its identity as a typical Salman Khan offering, unapologetically grand and aimed squarely at his fanbase. For die-hard enthusiasts, it delivers satisfying heroic antics, but for those seeking robust storytelling, emotional depth, and authentic character dynamics, Sikandar might fall short. The weak romantic subplot, emotional superficiality, and repetitive action sequences prevent it from achieving memorability. In essence, Sikandar fulfills its intentions of being a colossal festival release, designed to cater to Salman Khan’s admirers. It may not garner awards, but it keeps fans entertained, and for a Salman Khan film premiering on Eid, perhaps that’s sufficient.
Rating: 2.5/5
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