Here are some unique lessons that all the so called film makers can learn from Dhurandhar
1.Unlike the other so called pan india big films , the film doesn’t even try to elevate the hero and give him the so called elevation moments to make the audience forcefully worship him with the use of slow motion and ear splitting background music . It actually lets his flaws and the related consequences coexist, thus making the audience tense instead of giving a clap trap applause.. it is incredible that
@RanveerOfficial
the star steps back to allow #akshayekhanna to fill the frame because that is the requirement of the story and is a testament to Ranveer’s understanding of cinema
2.Unlike how most films explain, Dhurandhar withholds. Long stretches of silence explode what pages of exposition cannot do in other films
3. It treats violence not as spectacle but as a psychological blow ..
@aejazgulab
does a fantastic job as the action director who doesn’t care about giving clap trap moments but he integrates the characters and their current state of minds into every ounce of it’s violence .. Gulab’s action in the film is the finest I saw in Indian cinema and I frankly can’t think of even a Hollywood film to beat it from the top of my mind .. There’s a lot to learn from Aejaz Gulab especially for the South Indian pan India action directors because every blow of his leaves an emotional residue, both moral and physical, long after the scene and the film is over
http://4.It abandons the three act safety net.. The narrative moves like real life , uneven, impulsive, sometimes abrupt , rejecting neat rises and cathartic payoffs.
http://5.It trusts the audience’s intelligence unapologetically
No spoon feeding, no emotional underlining. Meaning is discovered, not delivered.
http://6.It makes the sound design a lead actor even in its background noise, breathing, distant chaos, the whole sound becomes a psychology in the film , and not just accompaniment.
http://7.It refuses genre loyalty because it mixes a blend of political thriller, character study, visceral action film and moral tragedy among many others thus shapeshifting the cinematic horizon
8. For the first time I experienced background music becoming foreground music , that doesn’t tell you when to feel heroic, scared, or relieved. The constant unease yet peppered with a emotional rollercoaster is the real soundtrack of the film achieved by the unimaginably talented @shaswatalogy
9. Dhurandhar treats cinema as confrontation and not consumption because it doesn’t want to just entertain you for three and half hours , but it’s real intention is to stay with you long after the film is over and maybe forever
Hey
@AdityaDharFilms
, A big thank you for making Indian cinema finally grow up and for giving all us film makers past , present and future too, to once again take baby steps holding your hand
DHURANDAR’s success is not being just another BLOCKBUSTER , it is a WARNING to the film industry to GROW UP
GOAT Has spoken about Dhurkino
Anonymous
loc-IN
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Here are some unique lessons that all the so called film makers can learn from Dhurandhar
1.Unlike the other so called pan india big films , the film doesn’t even try to elevate the hero and give him the so called elevation moments to make the audience forcefully worship him with the use of slow motion and ear splitting background music . It actually lets his flaws and the related consequences coexist, thus making the audience tense instead of giving a clap trap applause.. it is incredible that
@RanveerOfficial
the star steps back to allow #akshayekhanna to fill the frame because that is the requirement of the story and is a testament to Ranveer’s understanding of cinema
2.Unlike how most films explain, Dhurandhar withholds. Long stretches of silence explode what pages of exposition cannot do in other films
3. It treats violence not as spectacle but as a psychological blow ..
@aejazgulab
does a fantastic job as the action director who doesn’t care about giving clap trap moments but he integrates the characters and their current state of minds into every ounce of it’s violence .. Gulab’s action in the film is the finest I saw in Indian cinema and I frankly can’t think of even a Hollywood film to beat it from the top of my mind .. There’s a lot to learn from Aejaz Gulab especially for the South Indian pan India action directors because every blow of his leaves an emotional residue, both moral and physical, long after the scene and the film is over
http://4.It abandons the three act safety net.. The narrative moves like real life , uneven, impulsive, sometimes abrupt , rejecting neat rises and cathartic payoffs.
http://5.It trusts the audience’s intelligence unapologetically
No spoon feeding, no emotional underlining. Meaning is discovered, not delivered.
http://6.It makes the sound design a lead actor even in its background noise, breathing, distant chaos, the whole sound becomes a psychology in the film , and not just accompaniment.
http://7.It refuses genre loyalty because it mixes a blend of political thriller, character study, visceral action film and moral tragedy among many others thus shapeshifting the cinematic horizon
8. For the first time I experienced background music becoming foreground music , that doesn’t tell you when to feel heroic, scared, or relieved. The constant unease yet peppered with a emotional rollercoaster is the real soundtrack of the film achieved by the unimaginably talented @shaswatalogy
9. Dhurandhar treats cinema as confrontation and not consumption because it doesn’t want to just entertain you for three and half hours , but it’s real intention is to stay with you long after the film is over and maybe forever
Hey
@AdityaDharFilms
, A big thank you for making Indian cinema finally grow up and for giving all us film makers past , present and future too, to once again take baby steps holding your hand
DHURANDAR’s success is not being just another BLOCKBUSTER , it is a WARNING to the film industry to GROW UP
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>9. Dhurandhar treats cinema as confrontation and not consumption because it doesn’t want to just entertain you for three and half hours , but it’s real intention is to stay with you long after the film is over and maybe forever
I think this is one of the highlight point in recent times both indian and outside hollywood movies just became visual "epileptic" visual feed where you are sorta numb for few hours and then it passes off.
Dhurandhar and very few directors changed it and cinema once again became a 'living' experience for people. It requires all sorts of technical success which RGV san has put in nice manner.
Best review.
Anonymous
loc-IN
>>1873
>9. Dhurandhar treats cinema as confrontation and not consumption because it doesn’t want to just entertain you for three and half hours , but it’s real intention is to stay with you long after the film is over and maybe forever
I think this is one of the highlight point in recent times both indian and outside hollywood movies just became visual "epileptic" visual feed where you are sorta numb for few hours and then it passes off.
Dhurandhar and very few directors changed it and cinema once again became a 'living' experience for people. It requires all sorts of technical success which RGV san has put in nice manner.
Best review.
DHURANDHAR is not a film , it is a QUANTUM LEAP in INDIAN CINEMA
I believe that
@AdityaDharFilms
has completely and single handedly changed the future of Indian cinema , be it north or south ..That’s because Duradhar is not just a film.. it is a quantum leap
What Dhurandhar achieves is not just scale, but a never before experienced vision not just in sight but in the mind . Aditya Dhar doesn’t direct scenes here… he engineers the states of minds of both the characters and us audience
The film doesn’t ask for your attention.. it commands it. From the very first shot , there’s a sense that something irreversible has been set in motion, and the audience is no longer a spectator but an accomplice to the happenings on screen
This is a film that refuses to be polite. The writing cuts with intent, the staging breathes menace, and the silences are as weaponized as the thunderous sound effects . Dhar understands that power in storytelling is not volume… it’s pressure building . Every sequence feels compressed, like a spring being wound never knowing when it will snap . And when it does, the impact is not just brutal but it is also symphonically operatic
The Performances in the film aren’t designed to be liked but they’re designed to linger long after we leave the theatre .. Characters walk in carrying history on their shoulders, and the film trusts the audience enough to read their scars rather than spoon feed their backstories. This confidence which could be easily mistaken for arrogance is precisely what marks Dhurandhar as a turning point for Indian cinema . Dhar assumes that the audience are intelligent which is the highest respect a director can pay to an audience , whereas most film makers believe in dumbing down their films
Technically, the film redraws the grammar of mainstream Indian cinema. The sound design doesn’t decorate scenes, it stalks them. The camera doesn’t observe but it circles it like a predator. Action here isn’t choreography for applause.. it’s perspectively justified and extremely ugly , the way real violence should feel.
But beyond craft, what truly elevates Dhurandhar is its intent. This is not a film chasing trends or validation. It is a solemn declaration, that Indian cinema doesn’t need to dilute itself to become successful and doesn’t need to mindlessly copy Hollywood. Dhar proved that it can be rooted and still be internationally cinematic.
When the final credits roll, you don’t feel just entertained, you feel altered. And that’s the mark of a filmmaker who isn’t just making movies, but he is reshaping the very ground that all us film makers stand on.
>>1873
Previous Tweet url: https://x.com/RGVzoomin/status/2001869823664623750 tweet
Another few points he mentioned
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DHURANDHAR is not a film , it is a QUANTUM LEAP in INDIAN CINEMA
I believe that
@AdityaDharFilms
has completely and single handedly changed the future of Indian cinema , be it north or south ..That’s because Duradhar is not just a film.. it is a quantum leap
What Dhurandhar achieves is not just scale, but a never before experienced vision not just in sight but in the mind . Aditya Dhar doesn’t direct scenes here… he engineers the states of minds of both the characters and us audience
The film doesn’t ask for your attention.. it commands it. From the very first shot , there’s a sense that something irreversible has been set in motion, and the audience is no longer a spectator but an accomplice to the happenings on screen
This is a film that refuses to be polite. The writing cuts with intent, the staging breathes menace, and the silences are as weaponized as the thunderous sound effects . Dhar understands that power in storytelling is not volume… it’s pressure building . Every sequence feels compressed, like a spring being wound never knowing when it will snap . And when it does, the impact is not just brutal but it is also symphonically operatic
The Performances in the film aren’t designed to be liked but they’re designed to linger long after we leave the theatre .. Characters walk in carrying history on their shoulders, and the film trusts the audience enough to read their scars rather than spoon feed their backstories. This confidence which could be easily mistaken for arrogance is precisely what marks Dhurandhar as a turning point for Indian cinema . Dhar assumes that the audience are intelligent which is the highest respect a director can pay to an audience , whereas most film makers believe in dumbing down their films
Technically, the film redraws the grammar of mainstream Indian cinema. The sound design doesn’t decorate scenes, it stalks them. The camera doesn’t observe but it circles it like a predator. Action here isn’t choreography for applause.. it’s perspectively justified and extremely ugly , the way real violence should feel.
But beyond craft, what truly elevates Dhurandhar is its intent. This is not a film chasing trends or validation. It is a solemn declaration, that Indian cinema doesn’t need to dilute itself to become successful and doesn’t need to mindlessly copy Hollywood. Dhar proved that it can be rooted and still be internationally cinematic.
When the final credits roll, you don’t feel just entertained, you feel altered. And that’s the mark of a filmmaker who isn’t just making movies, but he is reshaping the very ground that all us film makers stand on.
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Tweet url: https://x.com/RGVzoomin/status/2001867816811757634
