Ikkis Moive Review: A War Film with Mass Emotion, Class Treatment and Solid Performances

Director: Sriram Raghavan
Cast: Agastya Nanda, Dharmendra, Jaideep Ahlawat, Simar Bhatia
Writers: Sriram Raghavan, Arijit Biswas, Pooja Ladha Surti
Duration: 143 Minutes
Rating: 4.5

Helmed by Sriram Raghavan, Ikkis is inspired by the life of Second Lieutenant Arun Khetarpal, the youngest recipient of the Param Vir Chakra, the film explores his courage, sacrifice, memory, and the emotional aftermath of war. 

Sriram in his own brave filmmaking style, narrates the tale in two different timelines, which increases its impact and depth. The first timeline takes us back to the Battle of Basantar in December 1971, where 21-year-old Arun Khetarpal, leads his tank regiment through hostile territory. This young officer is driven, fearless, and full of heart, capturing the essence of a hero who isn’t perfect but genuine and full of purpose.

Raghavan established the gravity of war rather quickly and thankfully he doesn’t opt sensationalize explosions or mind-numbing dialogues, he focuses on the psychological and emotional pressure faced by a young officer suddenly thrust into a deadly situation, something he is trained to do but never witnessed. The battle scenes are real, grounded, making you feel the realism of ongoing battle. 

Big-screen debutante Agastya Nanda as Arun Khetarpal his portrayal is strikingly sincere and heartfelt. He plays the character with authenticity, capturing the idealism and ambition of a young man who is eager to lead but still learning the true cost of leadership. His portrayal is devoid of the typical dialogue-baazi or slow motion shots, his bravery is revealed naturally, through action, not with over the top stunts. Nanda’s performance is raw and honest, allowing us to witness Arun’s sacrifice not as a grand gesture but as an inevitable, heartbreaking part of his character.

The scene where Arun refuses to abandon his burning tank, even after being ordered to retreat, and the fatal blow is a real tear-jerker, it’s a moment of pure truth, and Nanda delivers it with such emotional weight that it feels both deeply personal and profoundly tragic.

The second time line, set in 2001, it opens with Dharmendra as Brigadier M. L. Khetarpal, Arun’s father, who is still aches for his son, even after decades. When he meets another war veteran Brigadier Khwaja Mohammad Nasir, portrayed by Jaideep Ahlawat, the film moves into more introspective and reflective territory. This isn’t about politics or historical score-settling—it’s about two men, shaped by the same war, trying to make sense of the emotional toll it took on their lives.

Jaideep Ahlawat uses all his craft to portray his role, he is calm composed but one could still feel his emotional turmoil. His scenes with Dharmendra are among the most emotionally charged in the film. Their conversations are filled with unspoken understanding, and their shared moments in familiar spaces—walking through old neighbourhoods, visiting places of memory—create the film’s emotional high point.

Dharmendra, in his final film role, is nothing short of extraordinary. He doesn’t rely on dialogue to convey his feelings, instead, his eyes speak volumes, communicating grief, pride, and unresolved sorrow. His presence on screen is powerful, and his scenes with Ahlawat are beautifully understated. The quiet strength in his performance, especially given the context of his final appearance, is nothing short of poignant.

Simar Bhatia, in her role as Kiran, Arun’s love interest, brings warmth and sincerity, even though her screen time is limited. Her character provides a glimpse of the life Arun might have had, adding another layer of emotional complexity to the story.

The visual treatment of Ikkis is refreshingly grounded. The VFX is used sparingly and effectively, especially in the tank warfare sequences. The battle scenes feel real—claustrophobic, dangerous, and heavy with the weight of war. Every explosion, every maneuver serves to reinforce the story, keeping the focus where it belongs: on the soldiers, not the spectacle.

The film’s music and background score follow the same philosophy of restraint. The score complements the film’s emotional beats without overshadowing them, and during the quieter moments, especially in the 2001 timeline, the music becomes sparse, allowing for introspection. The dialogue is equally economical—every line carries weight because it’s sincere and measured, not for dramatic effect.

Raghavan’s direction is confident and assured. He gives his actors space to breathe, trusting them to convey meaning through silence and subtlety. The screenplay, co-written with Arijit Biswas and Pooja Ladha Surti, is tightly structured, deftly balancing the two timelines without losing emotional continuity. Every scene feels intentional, and the pacing never drags. 

This war drama marks another milestone for Maddock Films, known for their experimentation with genre. Here, they’ve chosen to back a film that prioritizes emotional truth and historical authenticity over commercial formulas. The attention to detail, the respect for the source material, and the commitment to telling a nuanced story reflect the seriousness with which the filmmakers approached the project.

Ikkis achieves something rare for the genre. It honors the sacrifice of soldiers without glorifying violence, and it respects history without weaponizing it for political gain. It’s a story that lingers, not because of the explosions or battles, but because of the quiet, powerful moments that speak to the very essence of being human.