Despite a superstar, a super director, and a super producer, Sikandar fails to rise above mediocrity. Despite being a high-budget film, it is bankrupt and tedious on many fronts.
After years of superstardom and experience, it seems that a time comes in a superstar life where, he fails to understand understand what makes a good film. Salman Khan is at a stage in his career where everything he touches can turn to gold. Yet, even under the direction of a competent filmmaker like A. R. Murugadoss, how did Sikandar turn out this way? Sajid Nadiadwala is no less skilled as a producer. Yet, how did such a film emerge under his production?
Salman Khan, it’s unfortunate that, has not delivered a mega hit after 2017’s Ek Tha Tiger. Sikandar is yet another average film from him. The core problem in this film lies in its story and screenplay (written by Murugadoss himself). Here is the plot.
Sanjay Rajkot (Salman Khan), heir to the royal family of Rajkot, is revered like a deity by the townspeople. He is referred to as both Raja Sa’ab and Sikandar. His life with his wife Saisri (Rashmika Mandanna) is blissful. The film, however, begins with a sequence in a flight, where Sanjay thrashes Arjun (Prateik Babbar) for misbehaving with Monica (Neha Iyer), a former adult film actress. This incident enrages Maharashtra’s minister Pradhan (Sathyaraj), Arjun’s father, who swears revenge against Sanjay.
Later, an explosion orchestrated by Pradhan in a mine injures Saisri, leading to her death. Honouring hr her wishes, her organs, heart, eyes, and lungs, are donated, saving three lives in Mumbai – a slum boy named Kamruddin (Ayaan Khan), a young woman Nisha (Anjini Dhawan), and a housewife Vaidehi (Kajal Aggarwal). Sanjay travels to Mumbai to meet them for solace but inevitably clashes with Pradhan. During the conflict, Arjun is accidentally killed. Now, Pradhan seeks revenge by targeting the three organ recipients. How this conflict unfolds forms the crux of Sikandar’s story.
Many films raise numerous questions yet manage to engage audiences despite an unnatural narrative flow. Larger-than-life elements are often forgivable in cinema. However, Sikandar fails even if you leave logic at the door. The thrill of suspending disbelief turns into frustration.
Shot in Mumbai and Hyderabad, the film suffers from multiple flaws, starting with its screenplay. How does a man who owns 25% of the country’s gold behave in ways that don’t align with his stature? Murugadoss had given Aamir Khan the role of a wealthy businessman in Ghajini, and its screenplay made even its larger-than-life moments acceptable. Such a thing doesn’t happen here.
Why does Sikandar travel between Rajkot and Mumbai in a general train compartment? How does one of his dialogues miraculously transform Vaidehi’s father-in-law, who was otherwise unyielding? How does the minister Pradhan remain oblivious to Sanjay Rajkot’s stature, while the entire internet knows ‘Who is he?’? And why does Sanjay roam Mumbai like a commoner, unnoticed for days? Why does he take kaali-pili taxis? The film bombards with endless questions, but rather than immersing, it alienates. Eventually, Sikandar becomes something you wish to cut off from quickly.
Even technically, the film doesn’t offer anything special. The cinematography, editing, and even action sequences fail to impress. Slow-motion shots, visual tricks, and audience sentiment for Salman make the action sequences passable at best. The music is weak. Pritam’s songs feel unnecessary. Perhaps unwanted songs were forgivable a decade ago, but modern audiences don’t consume music in the same way. The dialogues (by Rajat Arora, Hussain Dalal, and Abbas Dalal) lack impact. None of them stay with a viewer as soon as the film ends. Despite its 135-minute runtime and attempts at intensity, Sikandar ultimately says just one thing: If you are a Salman Khan fan, you are welcome, because you will accept the film as it is.
The acting department is uninspiring. Salman’s screen presence is one thing; his ability to embody a character is another. As Sanjay, he fails to create the necessary aura. Rashmika’s presence feels relevant only due to her current stardom. Otherwise, this role doesn’t demand a top actress. The reason why actors like Sharman Joshi, Kajal Aggarwal, Prateik Babbar, and Sanjay Kapoor accepted their respective roles is puzzling. Only child actor Ayaan Khan and Jatin Sarna (as a taxi driver) manage to leave a slight impact.
Despite being an expensive film featuring one of India’s biggest superstars, Sikandar is, in short, a weak product. It once again raises concerns that Salman needs to choose roles that respect both his audience’s trust and his own legacy. Shah Rukh Khan reinvented his screen presence successfully with two back-to-back films. Aamir took a break after a major failure. Even Akshay Kumar is navigating a transitional phase. After nearly a decade of successful films, Salman must now explore new cinematic landscapes instead of projects like Sikandar. Because audiences want the Khan trio and stars like Akshay to continue delivering great cinema.
If you skip Sikandar in theatres, the benefit is that Salman’s superstar image remains intact in your mind. If you watch it, you will at least have the satisfaction of not missing a Salman Khan film in theatres. The choice is yours. Decide wisely.
Rating: Two stars
Sikandar
Banners: Nadiadwala Grandson, Salman Khan Film
Producer: Sajid Nadiadwala
Director: A.R. Murugadoss
Cast: Salman Khan, Rashmika Mandanna, Sharman Joshi, Prateik Babbar, Kajal Aggarwal, Sanjay Kapoor, Sathyaraj, Ayaan Khan, Jatin Sarna, Dhanya Balakrishna
