Introduction

Sriram Raghavan’s Ikkis is not just another war drama; it is a deeply human exploration of sacrifice, reconciliation, and the cost of freedom. Based on the life of Second Lieutenant Arun Khetarpal, the youngest recipient of the Param Vir Chakra, the film situates itself during the Battle of Basantar in the 1971 India–Pakistan War. The title, meaning “Twenty One,” poignantly refers to the age at which Khetarpal attained martyrdom. Unlike conventional Bollywood war spectacles that lean heavily on jingoism, Ikkis takes a restrained, almost meditative approach. It balances battlefield heroism with the emotional aftermath of conflict, including a moving subplot where Brigadier Madan Lal Khetarpal visits Pakistan decades later to confront the man who killed his son. With a runtime of 147 minutes, the film is ambitious in scope yet intimate in execution, offering audiences a rare anti-war epic that values empathy over aggression.

Acting

The performances in Ikkis are its beating heart. Agastya Nanda, making his theatrical debut as Arun Khetarpal, delivers a surprisingly mature portrayal. His extensive preparation—years of military drills, tank training, and fitness regimens—translates into authenticity on screen. Critics noted that Nanda’s performance avoids melodrama, instead embodying youthful courage and vulnerability. Dharmendra, in his final film role, plays Brigadier Madan Lal Khetarpal with gravitas and emotional depth. His Urdu improvisations and heartfelt poem “Aj vi ji karda hai, pind apne nu jaanwa” add layers of poignancy. Bobby Deol’s voice-over for the younger version of Dharmendra’s character further enriches the performance. Jaideep Ahlawat, as Brigadier Jaan Mohammad Nisar, provides a nuanced antagonist—his portrayal of the Pakistani officer who later confesses to killing Arun is chilling yet humanized. Supporting actors like Simar Bhatia, Sikander Kher, and Deepak Dobriyal add texture, ensuring the ensemble feels lived-in rather than ornamental. Together, the cast elevates Ikkis into a heartfelt tribute rather than a hollow spectacle.

Direction

Sriram Raghavan, known for thrillers like Andhadhun, surprises audiences with the tonal shift in Ikkis. Instead of his trademark acidic wit and noir sensibilities, he opts for sincerity and restraint. Critics observed that this departure might alienate those expecting a “typical Raghavan film,” but it ultimately underscores his versatility. His direction emphasizes realism: tank battles were filmed using recreated Centurion tanks weighing several tons, shot in marshlands and rivers rather than relying solely on CGI. The choreography of war sequences is visceral yet avoids gratuitous violence. Raghavan also integrates nonlinear storytelling, juxtaposing Arun’s battlefield heroics with his father’s later confrontation in Pakistan. This dual narrative highlights the generational trauma of war. Importantly, Raghavan resists the temptation to glorify conflict; instead, he crafts a pacifist plea for empathy. As critics from The Hindu and Scroll.in noted, Ikkis sidesteps vengeance-fueled hyperbole, offering a rare cinematic space where Indians and Pakistanis are depicted as humans first, soldiers second.

Story

The narrative of Ikkis is both epic and intimate. At its core, it chronicles Arun Khetarpal’s journey from a young officer to a martyr, culminating in his sacrifice during the Battle of Basantar. Yet the film expands beyond battlefield heroics, weaving in family dynamics, camaraderie among tank crew members, and the haunting aftermath of war. The subplot involving Brigadier Madan Lal Khetarpal’s visit to Pakistan decades later is particularly powerful, dramatizing reconciliation and the painful acknowledgment of shared humanity. Critics praised the film for avoiding clichés of war cinema: there are no exaggerated speeches or hollow slogans. Instead, Ikkis emphasizes the unbearable truth that freedoms are often bought by those who never live to enjoy them. The screenplay, co-written by Raghavan, Arijit Biswas, and Pooja Ladha Surti, balances historical fidelity with emotional resonance. By focusing on Arun’s youth and vulnerability, the film reminds audiences that war heroes are not mythical figures but real individuals whose lives were cut tragically short.

Music

The soundtrack of Ikkis, composed by White Noise Collectives with lyrics by Amitabh Bhattacharya, is understated compared to the grandeur of its subject. Songs like “Sitaare” (sung by Arijit Singh) and “Ban Ke Dikha Ikkis” add emotional texture, though critics felt the music was underwhelming and did little to elevate narrative beats. However, Dharmendra’s orated poem and the tribute track “Ham Fouji Hain” resonate deeply, blending personal emotion with patriotic sentiment. Sachin–Jigar’s background score is more effective, enhancing tension during battle sequences without overwhelming the visuals. The restrained use of music aligns with the film’s anti-war ethos, avoiding bombastic orchestration that might glorify conflict. While the soundtrack may not linger in popular memory, it serves the film’s purpose by supporting rather than overshadowing the narrative. In this sense, the music mirrors the film’s philosophy: subtle, respectful, and focused on humanity rather than spectacle.

Final Verdict

Ikkis succeeds as a thoughtful, tear-jerking homage to Arun Khetarpal and, by extension, to all young soldiers whose lives were sacrificed for national freedom. It is not a conventional war film; instead, it is a deeply human story about courage, sacrifice, and reconciliation. Critics across outlets—from NDTV to Filmfare—praised its pacifist stance, noting that it values soul over spectacle. While its box office performance was modest (₹30.18 crore against a ₹60 crore budget), its cultural impact is undeniable. Dharmendra’s swan song adds emotional weight, while Agastya Nanda’s debut signals the arrival of a promising new actor. Raghavan’s direction, though tonally different from his past work, demonstrates his ability to craft cinema that is both patriotic and anti-war. Ultimately, Ikkis is a film that asks audiences to see beyond uniforms and slogans, reminding us that the true cost of war is borne by individuals and families. It is a cinematic plea for empathy in polarized times, and one that will endure as a rare gem in Indian war cinema.

Summary

Sriram Raghavan’s Ikkis is a poignant war drama based on the life of Second Lieutenant Arun Khetarpal, the youngest recipient of India’s highest military honor, the Param Vir Chakra. The film’s title, meaning “Twenty One,” reflects the age at which Khetarpal laid down his life during the Battle of Basantar in the 1971 India–Pakistan War. Rather than glorifying combat, Raghavan crafts a restrained, humanistic narrative that emphasizes sacrifice, empathy, and reconciliation.

Agastya Nanda, making his debut as Arun, delivers a performance marked by youthful courage and vulnerability. His preparation—military drills, tank training, and fitness regimens—translates into authenticity on screen. Dharmendra, in his final role, plays Brigadier Madan Lal Khetarpal with gravitas, while Jaideep Ahlawat portrays Brigadier Jaan Mohammad Nisar, the Pakistani officer who later admits to killing Arun. Their performances highlight the shared humanity of soldiers on both sides.

Raghavan’s direction departs from his usual noir thrillers, opting for sincerity and realism. Tank battles were filmed with recreated Centurion tanks in marshlands, avoiding excessive CGI. The dual narrative—Arun’s battlefield heroics and his father’s later visit to Pakistan—underscores generational trauma and reconciliation.

The screenplay balances historical fidelity with emotional resonance, reminding audiences that war heroes are real individuals whose lives ended too soon. The music, composed by White Noise Collectives with lyrics by Amitabh Bhattacharya, is understated, supporting rather than overshadowing the narrative. Songs like “Sitaare” and Dharmendra’s heartfelt poem add emotional depth, though critics found the soundtrack less memorable.

Ultimately, Ikkis is a heartfelt tribute to Arun Khetarpal and a rare anti-war film in Indian cinema. Though modest at the box office, it resonates culturally as a plea for empathy in polarized times. It succeeds in honoring sacrifice while reminding viewers of the devastating human cost of war.