In ‘Ikkis’s’ humane war narrative, an antidote to ‘Dhurandhar’-like machismo

Subtly, but resolutely, Ikkis humanises men who are fighting wars both within themselves and on the battlefield (Pic: Varinder Chawla)

All those who are familiar with the twists and turns in a Sriram Raghavan caper can vouch for the fact that he knows how to spring a surprise. Raghavan does so once again with Ikkis, which not only subverts the tropes of a war movie but also redefines what it means to “man up” at a time when hyper-masculine and propaganda-driven narratives are dominating Indian cinema.

The template for movies eyeing box-office success these days involves Pakistan-bashing, a jingoistic tone and violent action sequences. Bucking this trend, Ikkis displays a more nuanced understanding of war and heroism, with an empathetic tone that is missing in many recent war movies and historical dramas. Although the three central male characters, played by Agastya Nanda, Jaideep Ahlawat and Dharmendra, are army officers, they are not hyped as chest-thumping brave-hearts. Instead, the film has created several beautiful moments where they can express their vulnerabilities and dilemmas.

Based on a true story, Ikkis is produced by Dinesh Vijan’s Maddock Films, and co-written and directed by Sriram Raghavan. It follows the story of tank commander Arun Khetarpal (Nanda), who was killed at the age of 21 in the Battle of Basantar during the 1971 Indo-Pak War and was posthumously awarded the Param Vir Chakra. A parallel track depicts the story of his father, Brigadier Madan Lal Khetarpal (Dharmendra), who visits their ancestral home in Sargodha, Pakistan, in 2001 and is hosted by Pakistani Brigadier Naser (Ahlawat).

Ikkis is a thoughtful exploration of masculinity and bravery, which avoids the stylised machismo as seen in Dhurandhar or the rage that drives Chhava’s narrative. It gently nudges its characters and the audience towards a deeper understanding of what it means to be a man and what bravery truly is.

In an earlier conversation, Raghavan told me that he cast Dharmendra as a gang lead in Johnny Gaddaar (2007) because he could visualise the actor as a “gentleman” even when he is on the wrong side of the law. Nearly two decades later, Raghavan collaborated with Dhamendra, tapping once again into the quiet grace that defined Indian cinema’s “He-Man”. In contrast, Nanda’s character is high on “josh”, eager to prove himself as an army man. Yet, as the stakes rise on the battlefield, he is told his heroism is not determined by whether he takes or fires a bullet. In a key sequence, he is told by Captain Vijendra Malhotra (Vivaan Shah) to “be a man”, admit to his mistake and patch up with his girlfriend.

Nanda, who had signed the film when he was 21, gives an immersive and assured portrayal of a young man who was a natural leader even if he always did not have the right answer. Arun is a fighter who still hesitates and flinches when asked to kill an animal as his final test before he is entrusted with the task of commanding the crew of a tank.

The battle scenes are thrilling and well-designed with tanks exploding into gigantic balls of fire and lots of gun-fighting. Yet, the narrative offers room for softness, such as when a newly-wed soldier desperately tries to find signal on his radio in the hope that his wife might have dedicated a song to him, or a scene showing soldiers eagerly awaiting letters from home; or when Arun puts up his girlfriend’s photo as he operates a tank in the war zone.

Subtly, but resolutely, Ikkis humanises men who are fighting wars both within themselves and on the battlefield. With its emotional depth and understanding of cultural ethos, it offers a counterpoint to the shrillness of jingoism. Its true triumph lies in the way it gently questions established notions of valour while reaffirming what it means to be a man of honour.

The writer is associate editor, The Indian Express. alaka.sahani@expressindia.com