When a film chooses a story against the backdrop of the Indian Army, expectations are naturally higher. Viewers are ready to patriotism, action and stories that show the courage and sacrifices of the soldiers. Films like ‘Sharshah’ and ‘Raazi’ have raised bar, which have human emotions and stories contained in real military and intelligence contexts. Unfortunately, ‘Sergamine’, which promises to be an action thriller, respects very little war and almost any play which respects the Indian Army.

Kayoze is a tribute to the Iranian-directive armed forces and emotionally fragmented family plays. This plot follows Vijay Menon (starred by Prithviraj Sukumaran), a high -ranked army officer determined to eradicate terrorism from Kashmir, even though it means losing his son, Harman (Ibrahim Ali Khan) in the process. But rather than presenting a layered exploration of national duties vs. personal sorrow, the film dissolves in a stressful father-son relationship, in which the army only serves as a background.

Disconnected military references

Despite branding itself as an action thriller, ‘Sarzmin’ barely reflects the surface of the army’s life or operational war. The audience expecting the fighter scenes, strategic missions, political undercurrents, or interdptitude dynamics will not be found from here. There is very little insight into a soldier’s life, there is no cameradary among the authorities, and there is no discovery of the role of the Indian Army in the struggle areas. Vijay Menon, despite his rank, works in isolation, chases terrorists and faces individual demons alone.

One of the most misleading scenes in the film is when Harman is kidnapped from marriage – very easily. There is no army security, no security system, no backup, nothing. What a stranger that Vijay Menon, a senior army officer, runs after the alone, looks like a helpless father compared to a powerful officer with full support and resources. This scene not only seems unrealistic, but also shows the Indian Army in a careless and unprofessional light, which is far from the truth.

A emotional core that lacks substance

The emotional conflict at the center of the film is not naturally weak, Vijay Menon’s cool towards his sensitive, stutter son. Several war drama and action thriller, including ‘1917’, ‘Saving Private Ryan’ and India’s own ‘Border’, show personal stories along with Big War Story. But ‘Sarzmin’ also focuses on the issue of father-son. Harman’s visit, from a boy who only wanted his father’s approval, who stands against the country, seems vague and overlapping. Their reasons have not been well explained, and their change does not touch the heart in that way.

Meher (starred by Kajol), mother, is the only emotional support in the film. But the sad thing is that his role is also limited to the same emotional scenes and moments of crying. It is very different from the strong and inspiring characters that people usually expect from Kajol.

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Compare this to ‘Shar Shah’, wherever the love story served to reveal Vikram Batra’s courage and faith as a soldier. The romance was complementary to the story. Similarly, ‘Raazi’ flourished not only on Alia Bhatt’s performance, but also on his suspected depiction of espionage during the war, a tight wound flourished within the political conspiracy showing the bravery of the character.

In Siddharth Malhotra-Starrer, even the love story in that film made Vikram Batra’s bravery more. Romance added to the main story, it did not distract from it. Similarly, ‘Raazi’ was not only about Alia Bhatt’s strong acting, but also about how well the film showed the courage of her character during a stressful war. Both films had solid stories that were balanced feelings with action.

‘Sarzmin’ lacks all that. There is no music that does gender, there is no standout performance that enhances weak writing, and there is no strong supporting artist to create a world around the hero. A film in a region is politically unstable and emotionally charged as Kashmir, keenly hollow to tell the story.

The Indian Army is depicted on screen with dignity, complexity and power in many successful films. ‘Sarzmin’ had a great opportunity to show emotional pain among generations, a sense of duty towards the nation and the bond within a military family. But the film ruined the occasion by showing anything about the army or its real purpose.

Instead of honoring uniform, the film reduces soldier’s journey to a fragmented paternity story with suspicious realism. The army becomes a symbolic tool rather than an active force.

In the name of showing the Indian Army, it is just a weak family drama, remembering strength, respect and discipline that actually represents our soldiers.