Film Review: Sikandar

Nadiadwala Grandson Entertainment and Salman Khan Films’ Sikandar (UA) is the story of Sanjay Rajkot alias Sikandar (Salman Khan), the beloved raja of Rajkot, whose life takes a tragic turn when his wife Saisri (Rashmika Mandana) is killed in a political feud, and whose pledged organs are donated to three people. Believing that the antagonistic politician Pradhan (Sathyaraj) and his son Arjun (Prateik Babbar) will target the organ recipients, Sanjay takes it upon himself to protect them and secure their futures.

Story & Screenplay

A.R. Murugadoss’ story is patchy, lacking novelty and conviction. While the initial setup and Salman’s heroic entry create excitement, the narrative nosedives after Saisri’s demise. The entire second half rests on a weak premise that an influential politician would target recipients of a deceased woman’s organs which feels contrived and unconvincing. Tracks such as Vaidehi’s business venture and the sudden change of heart of her father-in-law are forced and hurried. The subplot of a mall project exists merely to showcase Sanjay’s Robin Hood image, while the so-called confrontations particularly between Sanjay and inspector Prakash lack bite. The climax is abrupt, and the film is low on humour and genuine emotion. Rajat Arora, Abbas Dalal and Hussain Dalal’s dialogues shine in flashes but are inconsistent.

Performances

Salman Khan looks dashing and essays Sikandar with conviction, though his dance in some songs betrays a lack of agility. Rashmika Mandana is graceful and impactful as Saisri, despite limited screen time. Sathyaraj is chillingly effective as the menacing Pradhan, while Prateik Babbar makes a strong impression as his hotheaded son. Kishore Kumar G. is solid as inspector Prakash. Kajal Aggarwal lends charm to Vaidehi, and Anjini Dhawan is adequate as Nisha. Child actor Ayan Khan impresses with confidence as Qamar. Sharman Joshi is wasted in an underdeveloped role, while Sanjay Kapoor’s special appearance adds little. Supporting acts by Jagjeet Sandhu, Nawab Shah, Jatin Sarna, Rajesh Jhaveri, Sulbha Arya, Kishori Shahane Vij, Neha Iyer, Dhanya Balakrishna and others are functional.

Direction & Technical Aspects

A.R. Murugadoss directs with technical polish but falters in narration. The film dips in engagement repeatedly, with glaring logical gaps hampering audience connect. Pritam’s music is average; Zohrajabeen is the only standout, while the Holi and Sikandar Naache tracks fail to excite. Sameer Anjaan’s lyrics are decent. Song picturisations by Farah Khan, Ahmed Khan, Brinda and Dinesh Master are uneven, with only Zohrajabeen leaving a mark. Santhosh Narayanan’s background score is serviceable but lacks punch. S. Thiru’s cinematography is a big plus, while Kevin Kumar’s action sequences are slick and mass-friendly, sure to thrill Salman’s fan base. Production design (Amit Ray, Subrata Chakraborty) and art direction (Pratik Chaudhari) are impressive. Vivek Harshan’s editing, however, could have been much sharper.

Final Verdict

On the whole, Sikandar is a disappointing fare, marred by a weak, flawed script and uneven narration. Despite Salman Khan’s star power, Sathyaraj’s menace, and high-quality action, the film lacks emotional depth and freshness. Considering its high budget, box-office returns will fall short of expectations.