Dharmendra’s final film Ikkis has sparked intense discussion since its release yesterday. The film opened the new year with a strong patriotic backdrop and immediately became a talking point among audiences.
Unlike many recent patriotic films, Ikkis avoids the usual India versus Pakistan narrative. Instead of portraying one side as purely good and the other as the enemy, the film focuses on war itself as the true evil. It highlights how conflict destroys lives, breaks families, and creates lasting hatred.
Many fans have praised director Sriram Raghavan for presenting a restrained and emotional portrayal of war. They feel the film exposes the horrors of conflict without glorifying violence or turning it into a commercial spectacle.
Supporters argue that Ikkis does not promote propaganda of any kind. According to them, the film avoids excessive drama and overstatement. This subtle approach, they believe, may not appeal to viewers accustomed to loud, aggressive patriotism.
However, criticism has also been sharp. Some viewers have labelled the film as pro-Pakistan propaganda. They argue that humanising Pakistani soldiers ignores the suffering of Indian soldiers who were captured and tortured during the war.
A section of critics went further, calling the film disrespectful to PVC Arun Khetarpal and his bravery in the 1971 war. They feel such storytelling might have worked in the past but no longer aligns with present-day audience expectations.
Looking beyond both extremes, the backlash reflects a larger trend in cinema today. In an era dominated by films like Dhurandhar and Border 2, aggressive nationalism is often used to drive box office numbers.
Films that attempt a more human and balanced view of war struggle to find acceptance. While hatred often translates into profits, nuanced storytelling invites resistance. Ikkis stands at the centre of this debate.
