Ever wondered what happens when a soldier’s duty to country collides with his love for family? Sarzameen tries to answer this with mixed results, showcasing Kajol’s stellar performance against beautiful Kashmir backdrops but stumbling with its predictable plot and uneven pacing.
Kayoze Irani’s directorial debut explores patriotism beyond battlefield heroics, focusing instead on the emotional cost paid by soldiers’ families.
Sarzameen follows Major Vijay Menon (Prithviraj Sukumaran), a decorated army officer known for his unwavering commitment to fighting terrorism in Kashmir.
His dedication to duty creates a growing distance between him and his family, particularly his wife Meher (Kajol) and their young son Harman. The story takes an unexpected turn when Harman goes missing, only to return years later as a radicalized young man (Ibrahim Ali Khan).
Kajol steals every scene as the mother desperately trying to hold her fragmented family together. Her nuanced portrayal of a woman caught between loyalty to her husband and protection of her son gives the film its emotional anchor.
Prithviraj delivers a solid performance as the stern military man, though his character could have used more depth beyond the typical patriotic soldier stereotype.
Ibrahim Ali Khan shows improvement from his debut film Nadaaniyan, but still struggles in scenes requiring intense emotion. His limited screen time (appearing almost an hour into the film) might actually work in his favor, as he seems more comfortable with fewer dialogues.
The father-son dynamics between Prithviraj and Ibrahim provide some of the film’s most compelling moments.
The cinematography deserves special mention for capturing Kashmir’s breathtaking landscapes with stunning clarity. These visuals serve as both a beautiful backdrop and a stark contrast to the turmoil unfolding in the characters’ lives.
The film utilizes its locations effectively, with border areas particularly well-shot to emphasize the geographical and emotional divides at play.
The screenplay, however, fails to maintain consistent tension throughout its runtime. The first half moves at a glacial pace, setting up character dynamics but taking too long to introduce the main conflict.
When the major twist finally arrives, it feels rushed rather than carefully built up, reducing its emotional impact on viewers.
Director Kayoze Irani (son of actor Boman Irani) shows promise in his feature film debut, but sometimes struggles with tonal consistency. The film veers between family drama, thriller, and patriotic messaging without fully committing to any particular direction. This identity crisis makes Sarzameen feel like three different movies awkwardly stitched together.
The background score occasionally overpowers quiet moments when subtlety would have worked better. In contrast, the dialogue feels natural in most scenes, particularly the exchanges between Kajol and Prithviraj about their differing parenting approaches.
The film’s exploration of radicalization feels superficial compared to other movies that have tackled similar themes. Rather than diving deep into the psychological manipulation that transforms vulnerable individuals, Sarzameen relies on plot conveniences to move the narrative forward. The terrorist elements serve more as plot devices than well-developed aspects of the story.
The emotional core of Sarzameen lies in its examination of what patriotism truly means. Is it blind devotion to country or the courage to question authority when moral lines are crossed?
This thoughtful approach elevates the film above standard military dramas, even if it doesn’t fully capitalize on its promising premise.
At 137 minutes, the film feels overlong, with several scenes that could have been trimmed without losing narrative coherence. The third act in particular rushes through important revelations that deserved more careful handling. Some subplots, like Vijay’s relationship with his father, are introduced but never fully developed.
Produced by Karan Johar’s Dharma Productions, Sarzameen marks another step in the studio’s recent pivot toward more serious content alongside their trademark glossy entertainers. The film benefits from strong production values but lacks the emotional polish of Dharma’s best work.
Releasing directly on JioHotstar (July 25, 2025) rather than theaters signals the film’s positioning as mid-budget, story-driven content rather than spectacle cinema.
This streaming-first approach allows for more nuanced storytelling but also means Sarzameen misses the collective viewing experience that might have amplified its patriotic themes.
The film’s ending leaves certain character motivations ambiguous, particularly regarding Kajol’s character. This deliberate ambiguity either suggests sequel potential or simply reflects the moral complexity the film attempts to explore. Either way, it leaves viewers with questions rather than neat conclusions.
Sarzameen ultimately works best as a family drama set against a military backdrop rather than as a thriller. The moments of quiet tension between family members prove far more engaging than the occasional action sequences. When the film focuses on its central triangle of father, mother, and son, it finds its strongest footing.
For viewers interested in films that examine the human cost of conflict rather than glorifying violence, Sarzameen offers enough substance to warrant a one-time watch.
Despite its flaws, the film deserves credit for attempting to look beyond battlefield heroics to explore the quieter, more personal sacrifices made in the name of national security.
