Salakaar

Directed by Faruk Kabir of 'Khuda Haafiz' fame, 'Salakaar' is ambitious in scope but uneven in execution. The plot has all the ingredients of a great spy drama - revenge, secrets, and political undercurrents, but some not-so-smooth writing and far-fetched twists pull it down. Still, if you enjoy espionage stories with a bit of flair, and you're willing to overlook a few logical lapses, 'Salakaar' is still worth a watch. With just five episodes of roughly 30 minutes each, this one could easily be one of the shows you can binge on this weekend. Just don’t expect it to be 'The Family Man' or 'Fauda'. This one plays more like an old-school desi thriller with some modern touches.

A significant flaw in the show lies in its storytelling approach. Given that the audience has already been exposed to this narrative in films and shows like Mission Majnu and Rocket Boys, it was incumbent upon the director to infuse the story with a fresh perspective. Unfortunately, the show falls short in this regard. It fails to spark curiosity or excitement among viewers. The narrative lacks the ability to engage; instead, it feels rushed and disjointed. To resonate with audiences, the show needed a more nuanced and thoughtful approach that would have allowed the characters to breathe and the story to unfold organically. However, it looks like the makers were prioritising pace over depth. It is because of this that the makers fail to establish their characters and bring a flow to their storytelling. The show’s dialogues are another major letdown, often feeling forced and unnatural.

But his earnestness is marred by a mountain of cliches that should have been moles. So anyone who’s captured in Pakistan is brutally tortured. Even their pathos screams sameness. Even the expanse of the show that is Neeraj Pandeyesque fails to absorb us into the world the makers have created. And just like Pandey’s own 2018 did Aiyaary, the only thing that catches your attention is the title that we don’t hear too often. The show takes a leap of 47 years (1978-2025) and the threat of the nuclear bomb returns. We then get characters like Surya Sharma (the intimidating antagonist of Undekhi and Yeh Kaali Kaal Ankhen) and Mouni Roy. There’s a forgettable track to evoke pride and patriotism but some action scenes are niftily executed. The show has its heart in the right place but at least two decades too late. You want to admire the idea, but it would be possible only if the year was 2003-04 when we got a sea of such monikers like Zameen, Qayamat, Lakshya, Aan, Khakee, Deewar.