Ranveer Singh: Ram Gopal Varma says, “It’s Amazing How Let Akshaye Shine in Dhurandhar.”

 Ranveer Singh: Ram Gopal Varma posted his opinions on the movie “Dhurandhar,” starring Ranveer Singh, on X, the old name for Twitter, on Friday. He emphasized Ranveer Singh’s grasp of filmmaking and pointed out how, even though he was the main character, he let another actor take center stage in the picture. After seeing Aditya Dhar’s Dhurandhar, which stars Ranveer Singh, filmmaker Ram Gopal Varma had nothing but love for the movie. He gave the movie a positive review and suggested that its popularity should serve as a warning to the film industry to mature.

“I think @AdityaDharFilms has totally and entirely transformed the future of Indian film, whether it’s in the north or the south. Not only does Dhurandhar accomplish size, but he also creates an unprecedented mental and visual vision. Here, Aditya Dhar engineers the characters’ and the audience’s mental states rather than directing situations,” he wrote. “The movie demands your attention—it doesn’t ask for it,” the director continued. One gets the impression right away that something irrevocable has started, and that viewers are now participating in the events on television rather than just watching them. This movie doesn’t care to be courteous. The silences are just as weaponized as the booming sound effects, the staging breaths are menacing, and the text slashes with purpose.

According to Ram Gopal, Aditya realized that pressure buildup, not volume, is what gives stories their impact.
Each sequence has the sense of a compressed spring that is being coiled with no idea when it will break. And when it happens, the effect is symphonically operatic in addition to being cruel. The movie’s performances are meant to stay with us long after we leave the theater, not to be enjoyed. Instead than spoon-feeding the viewer the backstories of the characters, the film trusts them enough to read their wounds as they enter the room bearing their past. He said, “Dhurandhar is a turning point for Indian cinema because of this confidence, which could be easily mistaken for arrogance.”

The greatest triumph, according to Ram Gopal, is that Aditya thinks that audiences are intellectual, “which is the highest respect a director can pay to an audience, whereas most film makers believe in dumbing down their films.” RGV commented, “Technically, the film redraws the grammar of mainstream Indian cinema,” in reference to the film’s violence. The sound design pursues scenes rather than embellishes them. The camera circled it like a predator but doesn’t watch. This action isn’t choreographed for applause; rather, it’s profoundly unpleasant and justified from a standpoint, which is how actual violence should feel. Beyond craftsmanship, however, Dhurandhar’s goal is what really makes it stand out. This is not a movie that seeks approval or trends. It is a sobering statement that Indian film doesn’t have to dilute itself or blindly imitate Hollywood in order to succeed. Dhar shown that it can be grounded while maintaining its global cinematic appeal. You feel changed rather than just entertained as the last credits have rolled. And it is the hallmark of a director who is not just creating films but also changing the foundation upon which all of us filmmakers stand,” he said.

Ram Gopal Varma continued by outlining a few things that Dhurandhar may teach filmmakers. The film doesn’t even attempt to raise the hero or give him the so-called elevation moments to compel the audience to love him with slow motion and ear-splitting background music, in contrast to previous so-called pan-India major films. “It is amazing 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,” he wrote. “It actually allows his flaws and the related consequences to coexist, making the audience tense instead of giving a clap trap applause.”

In addition, RVG said, “It handles violence as a psychological blow rather than as a spectacle. @aejazgulab does an amazing job as the action director, who doesn’t worry about creating claptrap moments but instead incorporates the characters and their present states of mind into every ounce of its brutality. The three-act safety net is abandoned. The plot progresses like real life—uneven, impetuous, and sometimes sudden—rejecting tidy ascents and cathartic rewards. The director believes that the movie “unapologetically trusts the audience’s intelligence” and uses the sound design as a main character, even amid the background noise. “In the movie, sound becomes more than just accompaniment; it becomes a psychology.” Because it blends a variety of genres, including political thriller, character study, visceral action flick, and moral tragedy, among many others, it rejects genre allegiance and changes the cinematic landscape. Dhurandhar views movies as confrontations rather than consumption since their true goal is to remain with you long after the movie ends, perhaps forever, rather than merely amuse you for three and a half hours, he said.

For letting Indian cinema finally mature and for allowing all of us filmmakers—past, present, and future—to once again take baby steps while holding your hand, Ram Gopal praised Aditya Dhar. “DHURANDAR’s success is not just another BLOCKBUSTER, it is a WARNING to the film industry to GROW UP,” he said at the conclusion of his piece. His remarks on Ranveer are in line with what many in the business think about his most recent movie. Filmmakers, journalists, and viewers have all found great resonance in Ranveer Singh’s portrayal of Hamza in Dhurandhar. Ranveer has great control in delivering the role’s demands for emotional intelligence, restraint, and a profound inner world.

Along with Ranveer Singh, the main cast of the espionage action thriller includes Sara Arjun and Rakesh Bedi, as well as Akshaye Khanna, R. Madhavan, Sanjay Dutt, and Arjun Rampal. The movie has surpassed Saiyaara and Coolie to become the third highest-grossing Indian film of 2025. On December 5, the movie was released in theaters. The trade website Sacnilk claims that the movie has made over ₹450 crore in India. The movie’s second installment is slated to open in theaters on March 19, 2026.