Creating a historical epic in Indian cinema comes with colossal expectations—ones often defined by Sanjay Leela Bhansali’s signature grandeur. The “Bhansali hangover” is very real: any new entrant into the genre inevitably draws comparisons to the majestic scale, emotional heft, and unforgettable performances Bhansali is known for. Unfortunately, Kesari Veer, directed by Prince Dhiman, finds itself overwhelmed by this very comparison, and much like Kalank before it, collapses under the weight.
Set against the backdrop of Saurashtra, Kesari Veer narrates the story of Hamirji Gohil, a brave warrior standing firm against the ruthless invader Zafar Khan (played by Vivek Oberoi), who is determined to annihilate the Somnath Temple. Supporting Hamirji are Vegdaji (Suniel Shetty) and members of the Bhil tribe. It’s a story steeped in historical valor, but the telling is far from compelling.
A Confused Tone and Characters That Drift
The first half struggles with tonal confusion. Is Kesari Veer a biopic? A war film? A romance? The narrative doesn’t quite decide. Introduction scenes for Hamirji, Vegdaji, and Rajal (Akanksha Sharma) are devoid of any emotional weight or intrigue. Characters come and go with little narrative consequence. While Suniel Shetty shows up with an impressive makeover, the script gives him little else to work with. Vivek Oberoi, as Zafar, attempts to channel the insanity of Khilji from Padmaavat, but ends up veering into theatrical excess.
Unintentional Comedy and Derivative Moments
Things take an unintentionally comedic turn in the second half. At a crucial point, Sooraj Pancholi’s Hamirji, poised for battle, is stopped by Rajal for a last-minute wedding—yes, mid-war. The film indulges in a full-blown marriage sequence while enemies are literally at the gate. If that wasn’t enough, a climactic battle scene seems directly lifted from Chhaava, particularly the lakefront skirmish featuring Vicky Kaushal.
And then there’s the overt nod to Padmaavat—the iconic “jiska sar kate…” line clearly echoed, but lacking the impact. Instead of standing on its own, Kesari Veer repeatedly draws from its predecessors, reminding viewers of what it’s trying—but failing—to replicate.
Casting Woes and Technical Shortcomings
Sooraj Pancholi, unfortunately, lacks the emotional depth required for a role like Hamirji. Despite the long locks and intense stares, he fails to leave a mark. Akanksha Sharma delivers a passable performance, missing the opportunity to elevate key scenes. Suniel Shetty, with all his experience, is weighed down by underwritten material.
On the technical front, the film falters. The visual effects are inconsistent and often jarring, diminishing what should have been awe-inspiring war sequences. Monty Sharma’s music provides some relief, but the frequent song interruptions hinder the storytelling rather than enhance it.
The Verdict
Kesari Veer has its heart in the right place. It clearly aims to pay homage to a hero lost in history and to rekindle a sense of pride in cultural heritage. However, noble intentions and lavish sets don’t automatically translate into cinematic greatness. Without strong performances, tight storytelling, or a distinct directorial voice, Kesari Veer ends up being more imitation than innovation.
In the end, the ghost of Bhansali looms large—and sadly, Kesari Veer proves too fragile to step out of his shadow.
