The buzz in tinsel town is palpable, and it all surrounds one highly anticipated film Ikkis. Even before its official release, this Sriram Raghavan-directed biographical drama has managed to stir deep emotions, sending early viewers teary-eyed, with some contemplative about life. The first reviews are pouring in from industry insiders after a special screening, and they paint a picture of something much more beyond a war story. It is described as a gentle, honest, and profoundly personal piece of cinema that lingers long after the credits roll.
Behind all these initial reactions is something powerful in the blend of experienced excellence and emerging talent. The overriding opinion is that Ikkis is nothing but a fitting swansong to leave behind in style veteran Dharmendra in style and a magnificent launchpad to debut with Agastya Nanda in style too. More importantly, it has apparently unleashed a very unexpected and very well-crafted performance from Jaideep Ahlawat, already proven to be a consistently stellar performer in cinema with his previous roles in various films.
The story of Ikkis is based on the heroism in real life. It tries to trace the brief and eventful life of Second Lieutenant Arun Khetarpal, who was awarded the Param Vir Chakra posthumously for his outstanding valour during the 1971 Battle of Basantar. There can be no greater challenge on screen for any actor than that of a war hero. Yet, early reviews indicate that Agastya Nanda has done more than rise to the occasion; he has owned it with an innocence and sincerity that shines through. He is being singled out for his gentle strength and compelling screen presence.
However, according to these early reactions, the soul of the film is none other than Dharmendra. As Brigadier M.L. Khetarpal, father of the young martyr, he seems to be pulling off a masterclass in grace and depth. The words “dignity”, “vulnerability”, and “unforgettable grace” have been used to describe his act by reviewers. Yet, amidst all the praise, there is a poignancy, for many are saying that if this is indeed his swan song, it’s a heart-wrenching and fitting parting gift-a legacy performance that wraps up an iconic career with loads of emotional weight.
Why Early Reviews Are Raving Over Jaideep Ahlawat's Career-Best, Unexpected Role
One of the most interesting aspects of the Ikkis first review out is the recurrent mentioning of Jaideep Ahlawat’s performance and the surprise it carries. An actor known for his intense and powerful roles in projects like Paatal Lok and Raazi respectively, Ahlawat seems to have taken a different route here. Cast as Brigadier Khwaja Mohammed Naseer, an officer of the Pakistan Army, his role demanded a delicate balance, avoiding caricature and seeking humanity even across enemy lines.
Famous casting director Mukesh Chhabra said in his review, “And Jaideep Ahlawat hats off. I really did not expect this, and I am glad to be surprised.” This comment is strong because it comes from one who understands acting from very close quarters. That means Ahlawat has defied expectations and given a “fine and delicate” performance, using silence as effectively as words. Such quiet, nuanced portrayals of the ‘other side’ add depth, emotional heft, and layers to any war drama that is fuller with loud moments of valor.
This appreciation shows that Ikkis is no way a jingoistic account but rather a much more detailed and human account. The skill of Ahlawat to “touch hearts” through his performance, as mentioned by actor Fatima Sana Shaikh, tends to suggest that the character has been penned in a detailed manner, so that the person behind the uniform is visible. This is, apart from making good cinema, also consistent with the style of much acclaimed filmmaker Sriram Raghavan, as evident from his previous films that feature gray areas, no matter how much they are biographical dramas.
Dharmendra Adds Depth and Grace to What Could Be a Legendary Farewell Performance
There is no doubt that the emotional epicenter of the initial response to Ikkis is Dharmendra. The terms in which his performance has been characterized – “grace,” “depth,” “dignity,” “vulnerability” – suggest a kind of role that showcases Dharmendra’s trademark screen presence and also mines the deep well of emotions. The fact that he acts out the father who has lost his son to the war is the kind of role that requires the actor to demonstrate the character’s boundless pride and overwhelming sorrow.
Director Anil Sharma, who earlier collaborated with Dharmendra in “Apne,” also wrote an emotional piece where he said, “I watched him with tears in my eyes.” The thing to be noted here is that this isn’t a review of a single performance but an appreciation of his entire journey as an actor. When a person from the industry speaks like this, it gives an insight into the scale of how Dharmendra has performed in this particular film. His performance is being regarded not just as a performance but as an emotional endpoint of his own legendary journey.
That this may be his swansong also provides a meta-emotional kick to the viewing public. It is a true emotional stake when they realize they’re observing Dharmendra, who has been a constant presence in Indian homes for so long, possibly waving his final goodbyes in this particular role of giving and losing as a father. Clearly, based on the review reports, it is not merely a role that Dharmendra performs; it is a legacy that he leaves behind with a gesture of Ikkis being an iconic movie in the Bollywood series.
Agastya Shines with Innocence and Sincerity in a Landmark Debut
All attention was naturally drawn to Agastya Nanda, the grandson of none other than Amitabh Bachchan, with his maiden entry into the theatrical world. The burden of performance, particularly with something as nationally significant as Ikkis, was enormous. However, the Ikkis’ very first review that has come out relentlessly praises Agastya’s performance as well. He was welcomed into the world of films by Mukesh Chhabra, who commented on his “endearing eyes” and how he believes that “innocence and sincerity shine” in him. This has to be the most significant comment to make as it states that Agastya has certainly reached the audiences emotionally, which forms the very foundation of the success that Agastya has today achieved with Ikkis.
Fatima Sana Shaikh’s expression of appreciation is an added strength in this regard. She wrote, “Agastya Nanda, Uff! What a performance. I was with you every second. Your presence is so strong yet so gentle. There is so much lightness and strength in every beat.” Here, reference is being made to a controlled performance. It is not easy being “strong yet gentle” in a performance that entails being a soldier. Here, strength and gentleness are being used to convey a character with innocence that is boyish, given that his character is that of a 21-year-old, coupled with an iron-strong will that comes with being an officer.
The chemistry between Agastya and Simar Bhatia, who is making her Bollywood debut, is described as “lovely.” This is a much-needed aspect of the story, which is set in the backdrop of the war. That Agastya is able to compete alongside the likes of Dharmendra and Jaideep Ahlawat as a newcomer is not an easy task. This is a testament to the fact that Agastya has not merely struggled in this tough environment but has succeeded, which is a true indicator of the emergence of a new talent.
The Sriram Raghavan Touch: Experiencing the Unexpected in a War Movie
The fact that Sriram Raghavan, the master of thrills and noir films, is making a biographical war film is bound to raise some curiosity. The question was how he would approach a biographical war film when he has directed films like Andhadhun and Badlapur. The answer is in the early reviews that emphasize the film-maker’s own style. Mukesh Chhabra signs off his review saying, “And above all – Sriram Raghavan. The man. The master. Once again, sir… once again.” There’s something that only Sriram Raghavan can do. That something leaves an impression. That impression is that he has the unique style of a master.
The adjectives used to describe the film, “gentle, honest storytelling,” “cinema that feels personal,” are not the usual adjectives applied to war films, which often lean toward spectacle and high-octane drama. That would suggest Raghavan has approached Ikkis as a study in intimate human emotions, personal loss, and quiet moments that define heroism beyond battlefield explosions. His known finesse for character development and nuanced storytelling has been funneled into creating a deeply moving portrait rather than a conventional patriotic film.
This directorial choice is probably what allowed the performances to flower the way they have. By creating a playing field that puts premium on emotional truth before melodrama, Raghavan would have allowed his cast, from the veteran Dharmendra down to the newcomer Agastya, to put in performances with their feet firmly planted on ground reality. It’s probably the “Raghavan touch” that forms the invisible thread binding together the surprising subtlety of Ahlawat’s role, the profound depth of Dharmendra’s adieu, and the shining sincerity of Agastya’s debut into one impactful, cohesive narrative.
Ikkis: More Than a Film, a Cultural and Emotional Moment
Reactions to Ikkis are not limited to critical reviews of performances and direction. The reactions showed that the film is being pitched as an important cultural moment and an emotional one, too. For Fatima Sana Shaikh, it reminded her “of a time when love and unity were the only language we knew.” It talks to the very element of the movie gifting a nostalgic idealism and a collective pride, emotions which have tended to be so palatable to Indian hearts. In these dividing times, a tale of pure sacrifice and valour can strike a powerful chord.
Additionally, the screening itself became a Bollywood function with the likes of Salman Khan, Sunny Deol, and Bobby Deol attending. However, the superstars’ admiration of the film enhances the film’s pride and potential to enjoy good word-of-mouth publicity. When superstars are present to grace the screening of a film, including those that are termed as the last of the legendary films, an aura of grandeur is created. Ameesha Patel’s thank-you message to the Deol family for the screening and the film being a “fitting tribute to our legend,” as she puts it, strengthens the assumption that Ikkis is an event that marks the film fraternity as well as the masses.
The delay from a release date on Christmas Day on December 25, 2024, to a release date on January 1, 2026, although a disappointment to the true fans wanting a release sooner, has actually increased the anticipation. This delay, coming as it is on the republic weekend, is the perfect setup for a film like this. This buildup allows the positive early reviews to brew and create a must-watch surrounding the film. By then, when it is actually released, Ikkis will no longer just be a film; it will be an experience, to bear witness to history, to pay respect to a legend, and to introduce a star, while also honoring a national hero.
Conclusion: Mark Your Calendars for a Cinematic Journey of Heart and Heroism
The Ikkis’s first review out, and already our collective excitement is sky-rocketing, in a manner that is purely heartwarming in its nature. This is no hype generated from meaningless spectrals; no, this time it is hope generated from promises of valid emotions, excellent performances, and a narrative with enough respect for its target audience’s intelligence and emotions. Let alone Karan Wahi, with a tender act from Jaideep Ahlawat, a career-defining depth from Dharmendra, and a debut show from Agastya Nanda, who promises a lot in his acts.
Under the watchful eye of the indefatigably talented Sriram Raghavan, Ikkis appears to have the makings of something greater than merely a biographical account of a war hero. It seems to be a warm and intimate message to heroism, to loss, and to legacy. It’s one of those films which promises to leave you feeling proud, and possibly brokenhearted, yet ultimately will linger with you long after the credits roll. Trust the reviews that are flooding in – it’s one cinematic experience you will not want to bypass on the first day of the year 2026 when it finally hits the screens.
Web Stories
