Film: Ikkis
Cast: Agastya Nanda, Dharmendra, Jaideep Ahlawat, Simar Bhatia
Directed by: Sriram Raghavan
Duration: 2 hours 27 minutes
Rating: * * * *
The concluding scene of David Lean's war epic The Bridge on the River Kwai (1957) features Major Clipton delivering two of the most iconic last words in cinematic history -"Madness! Madness!" This exclamation arises as he witnesses the devastation and chaos surrounding him, highlighting the senselessness of war.
In contrast, Sriram Raghavan's Ikkis may not have famous last words, yet it stands out as an exceptional film and ranks among the finest war films produced in our country. Drawing inspiration from the remarkable true story of India's youngest Param Vir Chakra recipient, Second Lieutenant Arun Khetrapal, Raghavan has skillfully created a narrative that encourages reflection, emotional engagement, empathy, and admire the craft of film making that takes the road less travelled. Under the direction of a different filmmaker, this narrative could have easily veered into a more extravagant, bombastic and
less favourable direction.
To begin with, the film possesses a core that resonates with humanity. While it addresses themes of duty, patriotism, valour, courage, and sacrifice for the nation, Raghavan subtly emphasises that these ideals can harmoniously coexist with compassion and empathy. As the filmmaker articulated, every commendable war film inherently serves as an anti-war statement, a notion he effectively conveys through Ikkis. As the end credits rolled, I found myself deeply moved and cheering for a film that truly came from the heart.
There are several elements working in favour of the film, starting with the casting. In his last major screen role, Dharmendra infuses his character with immense dignity and grace. He skillfully blurs the distinction between portraying Brigadier Madan Lal Khetrapal and the beloved actor we all admire. His performance is notably restrained (he was 88 during the film's shooting), and everything that unfolds on screen feels authentic even if it is strained at times.Then there is Jaideep Ahlawat, who can crush a meaty role and he does exactly that. As someone facing the weight of a moral dilemma, he is outstanding. Agastya Nanda emerges as a surprise - there aren't too many actors on the scene in that age bracket and in his sophomore outing (if one considers Archies (2023) as a film) and he delivers an
impressive performance.
With a "Thank you" to the French filmmaker Henri Verneuil (The Sicilian Clan, Any Number Can Win and the war movies, The 25th Hour and Weekend at Dunkirk), the film alters between two timelines - one in 1971, when Arun Khetrapal (Nanda) was still a cadet, and another in 2001, when his father, Brigadier Khetrapal (Dharmendra), visited Pakistan for a college reunion. The opening scene establishes the mood-a birthday celebration where cake is playfully smeared on Arun's face. An officer greets him and inquires, "Umar?" to which the young man replies, "Ikkis", and then asks, "Sir ladai hone wali hain?"(Sir, is there going to be a war?) This exchange occurs in October '71, and by early December, India and Pakistan were at war.
Arun and his friends were still in their youth and had only just finished their training, yet they were expedited into the army. Coming from a family of soldiers, he is eager to prove his mettle and showcase his bravery and valour on the battlefield. He receives a chance to do so as Indian tanks advance into Pakistan, with the famous sign stating, "You are entering Pakistan, no visas required so bash
on regardless."
Cutting between timelines, we also see his stint at the NDA, having fun and courting a girl named Kiran (debutant Simar Bhatia), who prompts him to read Hemingway's 'For Whom The Bell Tolls' while they watch films such as Irma La Douce (1963) and the war film, The Bridge at Remagen (1969). He also risks his own standing by getting his friends into trouble for breaking the rules. These events subtly illustrate that Arun is a man of principles - he does what is right, not what is easy.
The subsequent narrative, set in 2001, revolves around two elderly gentlemen who have experienced life in all its hues, particularly the darker shades. Brigadier Khetrapal arrives in Lahore, where he is hosted by Brigadier Nisar (Ahlawat), along with his wife and daughter. He is a retired army officer and current cricket selector for the Pakistan team. There is a palpable sense of deep respect that the Pakistani officer holds for his senior counterpart, as well as the gratitude that the latter feels towards him. Nisar also escorts him to Sargoda, with ISI agents trailing them. This is the village where the Indian Brigadier was born. In his childhood, he had buried a magnifying glass in the bark of a tree (which reminded me of the scene where a pistol is buried in Amar Akbar Anthony (1977)) - both the tree and the glass remain, but they are now in a different country. We also see the late Asrani in a cameo as someone suffering from Alzheimers - he is still stuck in the pre-partition era.
However, Brigadier Nisar carries a heavier burden on his conscience. Instead of perceiving him solely as a representative of the 'enemy' nation, the narrative approaches his character with compassion, prompting the audience to consider how would you deal with a parent when you know some inconvenient truths about their child who died?
Both timelines skillfully converge towards a rousing climax - in an unexpected turn of events, Arun and his battalion, who were on the verge of retreating after the ceasefire was announced, find themselves embroiled in a skirmish with their adversaries. On the other side of time, both the Brigadiers are at the very place where Arun became a martyr, 30 years ago.
While Ikkis emphasises Arun's valour, it also addresses the sacrifices made on the battlefield. The question, "Woh peeche kyun nahi hata" (why didn't he retreat), haunts the father's thoughts many years later, reflecting on Arun's decision to forfeit his life despite receiving orders to withdraw on what was the last day of the war. The film also recognises the contributions of lesser-known tank crew members and army personnel in the Battle of Basantar. Rahul Dev portrays Lt. Col Hanut Singh, who has endured the hardships of war, alongside Sikander Kher as Risaldar Sagat Singh, the strict taskmaster, and Capt Vijendra Malhotra (Vivaan Shah), Arun's direct superior. When Arun, yearning for action on the front lines, exclaims, "Maine ek golibhi nahi chaliyi" (I didn't fire a single bullet), the wise captain responds, "Sirf goli chalane se aadmi banda nahi banta" (Firing a bullet is not the sole indicator of bravery).
Monisha Baldawa's editing fluidly transitions between the various timelines, with the exception of one scene towards the conclusion where the focus shifts from the battlefield to his relationship with Kiran.
A poignant line delivered by Dharmendra's character - "Jang ke zakhm kabhi bharte nahi" - lingers long after it is spoken. Only those who have lived through the consequences of war truly understand its weight. You may call the film a dreamer, but it is assuredly not the only one.