There is something quietly unfashionable about Ikkis. It does not scream nationalism. It does not weaponise background scores. And it does not reduce conflict to chest-thumping slogans or WhatsApp-forward certainties. And perhaps that is precisely why it has found itself under suspicion.
Ikkis is a restrained story, constrained by the actual events through a human lens that, unfortunately, refuses to turn war into a jingoistic chest-thumping drama. It tells the story of courage without the high-decibel shouting match about patriotism. It allows emotional moments to breathe, lets pauses to speak. In today’s Bollywood ecosystem, where PR and loudness often substitute for conviction, this on-screen presentation of a real story is a rarity.
The audience discomfort primarily on social media from armchair activists and some opportunistic voices stems from the depiction of a Pakistani officer, Col Nisar of the Pakistan Lancers, shown with dignity, professionalism, and basic human decency. And that raises the alarm in the voices.
Is Bollywood trying to normalise the India-Pakistan conflict? Is it softening the enemy? or Is this an ideological drift? Before I even try venturing into this uncomfortable arena, I would recommend that we pause and ask another awkward question: have we normalised getting irritated with anything and everything? Have we normalised Bollywood-bashing to the point where nuance itself becomes suspect?
The film, to its credit, does present a disclaimer that Col Nisar’s behaviour was a rarity, and that, for the most part, the conduct of the Pakistan Army has historically been atrocious. Now, unfortunately, this comes at the fag end, even after the post-film credits and the comparative images of the cast and characters in real life, by which time the hall was literally emptied. Maybe after the online outrage machine warmed up and the film was tried and convicted on social media timelines? Trying to be politically safe with the existing national sentiments. But would it appear early have changed anything? Maybe NOT, because the people who are sitting on the edge waiting to raise an issue about anything remotely off-centre would still find ways to negate the impact. And, I am sure, most have not watched the movie- and that is the sad part of it.
Ikkis never claims that decency is the norm across borders. It only shows that rarity exists. And rarity, by definition, is not normalisation. It is an exception.
Cinema is not a policy document. It is not a defence briefing.
Stories are meant to be told the way they unfold, not airbrushed, not calibrated to audience insecurities, and certainly not coloured to pass ideological litmus tests. This applies whether a film is fictional, inspired by true events, or is a true story. There is something called creative license and the storyteller’s prerogative. Though I myself have many times raised my voice against many stories and storytelling in advertising, and will continue to do so. And that tells me that maybe many are not finding it right with Ikkis. Fair enough, I accept that if people have seen the movie, I would recommend that you see the film.
If we start demanding that every story confirm our existing beliefs before it earns the right to be told, we are not protecting nationalism; we are shrinking imagination. Then, in real life, we are applying the algorithms that we crib about in digital media.
Ikkis is a sweet, simple film. Almost old-fashioned in its sincerity. It believes that courage can be quiet, that honour can be human, and that even in war, moments of rare grace can exist, even from our number one enemy state- Pakistan. It does not dilute patriotism, but it also refuses to shout from the rooftops.
And if your patriotic taste finds this approach uncomfortable, perhaps patience is the answer. Border 2 releases on 24th January. The decibels will return. The familiar emotions will be safely reinforced. Order will be restored.
Until then, Ikkis deserves to be watched. Not because it is perfect, but because it is honest in its intent. In a time when outrage is easier than reflection, that itself is a quiet act of courage. The defence ministry and army support the story, so does the family of Second Lt. Arun Khetarpal (on screen played by Agastya Nanda, grandson of Amitabh Bachchan), who fought the 1971 Indo-Pak war and was martyred on 16th December 1971. He became the youngest Army officer to be awarded the Param Vir Chakra (PVC). He was all of 21.
Ikkis, is the story is of his father visiting Pakistan on his college’s Golden Jubilee and his ancestral village, Sargodha. In Pakistan, he is hosted by Brigadier Khwaja Mohammad Naseer, who was a major during the war, and the shell fired from his tank was the one that killed 2nd Lt. Arun Khetarpal in the battle at Basantar.
Second Lt. Arun Khetrapal, played on screen by Arun Agaystya (grandson of Amitabh Bachchan), and the role of his father, Retd Brigadier Madan Khetarpal, played by Dharmendra. Agastya Nanda impresses with his presence and acting, and Dharmendra steals the heart. Jaideep Ahlawat as col Naseer is restrained and impresses as usual, but there is a fear that he is becoming a unidimensional typecast and should find another note in on-screen characters. However, the film belongs to Ahlawat for still making his presence carry the story, and Dharmendra demonstrating what acting could be.
The supporting cast, Rahul Dev, Sikander Kher, Suhasini Mulay, and Vivaan Shah, play along. Young lady love of Arun Khetarpal played by Simar Bhatia (debut) is lukewarm- nothing to write home about.
Director and co-writer Sriram Raghavan has done a good job. The film might get mostly 3-star and, at times, a generous 4-star review, but it should not be measured by the reviewers’ taste and the social media-fuelled frenzy. The hall for the late-night 1030 PM show in PVR was packed, and it shows the movie is pulling through despite social noise or maybe because of it. Whatever, I recommend that you go and watch it.
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In the movie Ikkis, there is a reference to Hawldar Hosihar Singh of the 3rd Grenadiers, and the war of Jarpal. That could be another story that awaits to be told, and maybe the production house is gearing up for it. Havaldar Hoshiyar Singh, also referred to as Major Hoshiar Singh Dahiya, was awarded Param Vir Chakra (PVC) for bravery in the 1971 Indo-Pak War in fierce battles at Jarpal.
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You may also want to read- Movie review- Dhurandhar.
