Ikkis review: Sriram Raghavan’s tender biopic honors valor in a war drama that prioritizes humanity over spectacle

Starring Agastya Nanda as PVC Arun Khetarpal, the film celebrates a young soldier’s heroism while underscoring the human cost of war. 

In times where Bollywood war films rely heavily on chest-thumping nationalism, graphic gore, and pulsating background scores to triumph in the battle of box office, choosing to explore this resource-heavy genre through a deeply human lens feels revolutionary in itself. And it is precisely this spirit of rebellion, the choice to take a route less travelled that shines through in Sriram Raghavan’s Ikkis. The film stands out for not only celebrating our bravehearts in full glory but also for presenting the human cost of war and the quiet pain it leaves behind in the most profound manner. While as an army kid I’m more drawn to the latter themes, I still feel it’s a fascinating time for Indian cinema, where both unapologetic patriotic spectacles and deeply introspective, humane war narratives coexist on the big screen, offering viewers varied choices.

Set across two timelines, Ikkis is a war biopic honouring the sacrifice of the 21-year-old Second Lieutenant Arun Khetarpal, (Agastya Nanda) who earned the Param Vir Chakra for his valour in the Battle of Basantar during the 1971 India-Pakistan war. However, what makes this outing a refreshing departure from recent ventures is the nuance and subtlety with which it  humanises the battlefield and handles the themes of duty, guilt, grief, and loss of those affected by it. We seeM L Khetarpal, (Late Dharmendra), setting out on a trip to Pakistan, three decades after his son’s martyrdom for a college re-union, where he is warmly hosted by Pakistani Brigadier Khwaja Mohd. Naseer (Jaideep Ahlawat). However, the brigadier harbours a guilt he wants to relieve himself of but refrains from expressing, thinking Senior Khetarpal won’t be able to forgive him. While the film doesn’t treat this angle as a major plot twist as you have an idea of Naseer’s past with Arun, what remains heartwarming is the equation the duo shares and Raghavan’s commitment to his intent while striking a great balance between the blood-shed and tension on the battlefield and the moments of shared humanity that linger long after the war ends. 

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The film begins at an unhurried pace, introducing us to Arun as a spirited young cadet captain at the NDA, brimming with raw zeal, who dreams of commanding a tank and facing the thrill of war. His ‘josh’ is gradually refined into disciplined courage through rigorous training and guidance from seniors, and quiet moments of self-realisation while leading a team of equally spirited peers. The portrayal of NDA culture, its rich traditions, the  camaraderie among cadets, their pranks, and those tender first brushes with romance, is an absolute treat to watch, bringing a nostalgic smile to anyone familiar with military life or 70s vibe in general- all of which testify Raghavan's attention to detail. 

However, what is truly commendable is how the writers and director use war in the film- not as a weapon of narrow nationalism to push populist agendas but as a medium to propagate the idea of progressive patriotism that thrives on humanity, reconciliation, and an understanding of the futility of war. There are subtle touches that gently remind the audience of shared humanity across borders. For instance, an Indian soldier informs Arun that they have crossed into Pakistani soil, to which he quietly remarks, ‘the land is just the same’; or in the later timeline, when a limping Pakistani neighbour confronts Naseer for warmly hosting an Indian, angrily declaring he lost his leg in the war, only for Senior Khetarpal to embrace him and say, ‘I lost my son, we both lost a part of ourselves.’ These understated yet deeply moving moments highlight the fact that beneath uniforms and flags, the pain of loss is universal. We are then intercut to war sequences which again doesn’t reduce the bloodshed to spectacle but uses it to convey the brutal aftermath of violence. While cinematographers capture the re-telling of the tank heavy Battle of Basantar with great skill and authenticity, we also see deliberate, lingering shots of the severed bodies and left wreckage, forcing us to confront the haunting scenes of the battlefield and the cost of it all. 

Besides the tender writing, what truly elevates the film is its impressive performances. Agastya Nanda, in his portrayal of the 21-year-old protagonist, brings a noticeable sincerity. By the way, the film’s titleIkkis(meaning 21 in Hindi) symbolises standing above the rest in competition, a motif that Raghavan cleverly weaves into both the hero’s journey and the narrative itself. Nanda conveys the determination, innocence, and zeal of a young soldier with Bachchan-like intensity in his eyes, something that is hard to ignore. Jaideep Ahlawat as the grief struck Pakistani officerdelivers on expected lines whileSikandar Kher and Vivaan Shah add nuance to the narrative as seniors of Khetrapal. However, the heart of the film remains late Dharmendra ji,  who delivers a profoundly moving performance as as ex Army officer and grieving father, somewhat mirroring his own real-life persona as a tough yet deeply sensitive icon who spread warmth and love, making Ikkis a truly fitting and poignant swansong for the legend!

Overall, Ikkis is a rare, deeply moving war film that doesn’t shout its patriotism but whispers truths about courage, loss, and reconciliation, that leaves you with great respect for the men in uniform and their families. 

Ikkis is now showing in cinema halls near you!

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