Kesari Veer movie review
Director: Prince Dhiman
Cast: Sooraj Pancholi, Suniel Shetty
Star Rating: ★★.5

Setting out to make a historical drama is a mammoth task, especially when the Bhansali hangover is a real thing. It simply means that any other epic made for the big screen will inevitably be compared to his larger-than-life films—replete with stunning frames, meticulously detailed sets, and high points in the story that often make up for other flaws. Kalank (2019) was a victim. Kesari Veer falls prey to that hangover too.

While filmmakers can try to replicate the aesthetics, nothing comes close to the performances Bhansali manages to extract from his actors. From Ranveer Singh in Padmaavat to Priyanka Chopra in Bajirao Mastani, many have delivered the best work of their careers under his direction. Kesari Veer? It falters on both fronts.

Directed by Prince Dhiman, Veer Kesari revolves around Hamirji Gohil, a warrior who stands up for Saurashtra and the Somnath Temple, which Zafar Khan (Vivek Oberoi) is hell-bent on destroying. Aiding Hamirji in his mission is Vegdaji (Suniel Shetty) and other members of the Bhil tribe. Do they manage to fend off the invaders? Watch the film to find out.

The first half of Kesari Veer confuses the viewer—is it a war drama? A biopic? Entry sequences for each of the three main characters—Hamirji, Vegdaji, and Rajal (Akanksha Sharma)—are as bland as they are OTT. Suniel gets a solid makeover, but that’s about it. Characters flit in and out of the story with little impact. Vivek Oberoi as Zafar attempts to channel the madness of Ranveer’s Khilji from Padmaavat, but ends up hamming quite a bit.

The second half becomes progressively—and unintentionally—funny. Sooraj’s character, pressed for time and setting out for war, literally riding out on horseback, is intercepted by his love interest Rajal. She wants to be his wife “if only for one day”—and the film cuts to an elaborate wedding sequence. Apparently, that was more important, despite the invaders being at the doorstep. Only after the wedding night does our hero get back to the pending task.

And of course, there’s the visual nod to that famous line from Padmaavat: “…jiska sar kate, phir bhi dhad dushman se ladta rahe, voh Rajput!” We told you—the Bhansali hangover is hard to shake. Seems even Veer Kesari’s makers couldn’t.

The climax seems to have taken ‘inspiration’ from Chhaava’s brilliant battle scene where Vicky Kaushal’s character and his team fight near a water body—outnumbered, but not giving up.

Despite all this, Kesari Veer could have worked as a decent historical drama.

But its biggest shortcoming is its hero—Sooraj Pancholi. The man just doesn’t emote! Growing one’s hair for a role doesn’t magically grant acting abilities. Suniel Shetty tries to lend some gravitas, but the story lets him down. Akanksha Sharma as Rajal is average, and falters in a key scene where she had the chance to shine. The VFX here is shoddy too.

The music by Monty Sharma is okay, though the incessant song placements could have been avoided.

Overall, the heart of Kesari Veer’s makers lies in the right place, no doubt. But noble intentions rarely guarantee a good cinematic experience.