Sarzameen fails to make an impact

‘Sarzameen’, the debut feature film of director Kayoze Irani, is set against the breathtaking backdrop of Kashmir, blending patriotism and family dynamics in an action-packed drama. While it scores on technical fronts, the emotional and narrative arcs don’t land quite as powerfully.

The film follows Colonel Vijay Menon (Prithviraj Sukumaran), a hardened Army officer stationed in volatile Kashmir. Raised in a regime of discipline and strictness by his own Army father, Menon takes the same route for his son, Harman (Ronav Parihar). However, Harman — riddled with self-doubt and a debilitating stutter — struggles to live up to those expectations.

Rather than follow in his father’s footsteps, Harman’s journey takes a shocking detour, one that pits him against the very values his father stands for.

Adding emotional complexity to the story is Meher (Kajol Devgan), Vijay’s wife and a fiercely devoted mother. Her character grapples with the burden of choosing between being a patriot’s wife and a mother desperate to protect her child at all costs — even if it means asking her husband to forsake his duty to the nation.

The film opens powerfully with Boman Irani, in a cameo as the Army Chief, addressing the terror situation in Kashmir. The first half is gripping — thanks to high-octane action, sleek production and tightly edited sequences. But the narrative soon turns murky when Harman, presumed dead, resurfaces — radicalised and seeking revenge, with Ibrahim Ali Khan in older Harman’s shoes. The film then veers between family tension, espionage intrigue and flashbacks, struggling to balance personal stakes with national duty.

‘Sarzameen’ stages an intriguing premise but fails to ring true. As the story progresses, one wonders why this isn’t a regular Army family. Where is the question of an Army mother and father putting ‘son’ before sarzameen? But don’t be quick to judge, a super twist is on the way!

The film attempts emotional gravitas but is let down by underdeveloped characters and rushed motivations. The film is ambitious in scope, but much of its weight falls on a few central characters, making the absence of a supporting cast (and subplots) feel like a missed opportunity for richer storytelling.

Prithviraj Sukumaran, a prominent Malayalam superstar, makes for a commanding presence as the dynamic and dashing Col Menon. Kajol, as always, delivers a competent performance — though her character’s overly dramatic emotional stance feels misplaced. Ibrahim Ali Khan, in his debut (‘Sarzameen’ was shot prior to ‘Nadaaniyan’), gives a decent performance. His screen time is cleverly balanced with the presence of veteran actors. With minimal dialogues and a focus on action, the film strategically plays to his strengths.

A standout performance comes from Jitendra Joshi as Ahmed, who brings depth and authenticity to a pivotal supporting role.

Kayoze Irani, son of Boman Irani, previously helmed the segment ‘Ankahi’ in ‘Ajeeb Daastaans’. Here, with his feature debut, he demonstrates a flair for visual storytelling and action staging. The combat scenes are crisply choreographed. Since it is Dharma Productions, it reflects what they do the best, with glamourised military quarters and overt sentimentality marking the film.

Background score keeps the film pacey even when the narrative struggles. Songs, like B Praak’s rehashed ‘Ve Mahiya’, work well. However, the screenplay and story leave much to be desired. The narrative would have benefited greatly from a stronger backstory, especially Vijay-Meher coming together, which is treated too casually for such a serious transformation.

Dialogues by Jehan Handa try to be stirring, but are reduced to being formulaic. ‘Sarzameen’ has its moments — especially in the first half — but suffers from uneven storytelling and characters that never fully come alive. It makes for a decent one-time watch.