The films made in Bollywood with the name ‘Sikandar’ have their own historical importance. If we go into history, the 1941 film ‘Sikandar’ starring Prithviraj Kapoor and Sohrab Modi was banned by the British government…………
sikander movie review:-There was a time when a Salman Khan movie, regardless of its quality, would guarantee a houseful first show. Be it Jai Ho, Race 3, Dabangg 3, or Tiger 3, his mere presence was enough to draw crowds. But things seem to have changed. Sikandar, his latest film, was released on a Sunday, supposedly to take advantage of the Eid holiday. However, since Eid in India fell on Monday, theaters on Sunday were surprisingly empty.
The Sikandar Legacy: From Prithviraj Kapoor to Salman Khan
The name Sikandar has a long history in Indian cinema. Back in 1941, Prithviraj Kapoor and Sohrab Modi starred in a film of the same name, which was so powerful in evoking nationalist sentiments that the British government banned it in several regions. It was re-released in 1961 during the Goa Liberation movement and performed exceptionally well, even inspiring its makers to dub it in Persian. Over the years, audiences have seen and heard multiple versions of Alexander the Great’s encounter with King Porus.
However, Salman Khan’s Sikandar has nothing to do with history. The title comes from a song in Muqaddar Ka Sikandar, written by lyricist Anjaan:
“Humne maana yeh zamana dard ki jaageer hai,
Har qadam pe aansuon ki ek nayi zanjeer hai,
Saaz-e-gham par jo khushi ke geet gaata jaayega,
Woh Muqaddar ka Sikandar jaaneman kehlayega…”
And that’s pretty much what Sikandar is all about—a glorified concept of destiny, luck, and power, all packed into a Salman Khan masala film. The film’s basic idea seems to have been borrowed from Animal—Ranvijay’s heart transplant storyline—but everything else is just Salman Khan doing what Salman Khan does.
A Royal Story That Leads Nowhere
The movie starts with Salman Khan playing a character named Sanjay Rajkot, a wealthy ruler owning 25% of India’s gold reserves. He marries a much younger woman, not out of love but to save her from some danger. His wife is always worried about his safety, but what exactly threatens him remains unknown. The director, A.R. Murugadoss, never bothers to explain.
As the film unfolds, something seems off. At times, Salman Khan’s physique changes between shots, and in long or back-to-camera shots, it almost appears as if a body double is being used. Maybe it’s just an illusion, but it creates a disconnect between the audience and the character. Similarly, the supposed love story between Salman Khan and Rashmika Mandanna feels forced and unconvincing. They are in love—we are told—but there’s zero chemistry on screen.
Then comes the big tragedy. The heroine sings “Kal aapke naseeb mein yeh raat ho na ho…” and, as expected, she dies. Her organs—heart, lungs, and eyes—are donated to three different people. This brings us to the main plot, which seems eerily similar to Jai Ho’s concept of one good deed inspiring more good deeds.
A Story That Feels Like a Patchwork
To establish an antagonist, the film introduces Prateik Babbar, playing the spoiled son of a politician. He harasses a woman on a flight and blackmails her using her child. Later, his character meets a tragic end, triggering his father’s wrath. Now, the politician wants to kill the three recipients of Salman Khan’s wife’s organs. Why? That’s a mystery—perhaps even to the scriptwriters.
The writing in Sikandar feels random and lazy, a mix of cliché Bollywood dialogues and borrowed ideas from various sources. The script, penned by Hussain and Abbas Dalal, seems like a poorly assembled puzzle, where pieces don’t fit together. Even Rajat Arora, known for crafting engaging narratives, couldn’t save this sinking ship.
One of the most bizarre moments in the film is when Sanjay Rajkot, a Gujarati-speaking king, walks into Delhi and convinces someone to do his bidding—by speaking in Gujarati. Apparently, that’s all it takes to get things done! The film might as well have added a slogan: “Abki baar, Rajkot Sarkar!”
Salman Khan’s Acting: A Burden, Not a Passion
Salman Khan was never known for being a method actor, but at least he used to put in some effort. Now, he just seems to be going through the motions, doing his fans a “favor” by appearing on screen. The director Murugadoss, known for films like Ghajini and Holiday, fails to extract any noteworthy performance from the star. The supporting cast is wasted, and most actors resort to overacting.
Rashmika Mandanna, fresh off the success of Animal and Chhava, seems overly confident, as if her presence alone is enough to make a film successful. But that confidence doesn’t translate into a strong performance. Bollywood has seen such misplaced arrogance before, and it rarely ends well.
Music and the Missing Magic
The film’s music, composed by Pritam and written by Sameer Anjaan, is forgettable. Unlike Salman’s previous blockbusters, where at least one song would become a chartbuster, Sikandar lacks any memorable tunes. If anyone remembers the soundtrack by the time the next Eid arrives, it would be nothing short of a miracle.
Despite being released on Eid, a time when Salman Khan films usually dominate the box office, Sikandar fails to generate excitement. The weak storyline, uninspired direction, and lazy performances make it one of the most forgettable films in Salman Khan’s career.
The fans who once flocked to see Maine Pyar Kiya, Hum Aapke Hain Koun, or even Tere Naam might still hold out hope that Salman Khan will rediscover his passion for acting. But with each new film, that hope fades a little more. Maybe one day, he will watch his own classics and realize what he has lost. Until then, Sikandar is just another name in a long list of disappointments.
Final Rating: 1.5/5 ⭐