Deepika Padukone: The Indian film industry recently witnessed an interesting moment of mutual respect and artistic admiration when filmmaker Sandeep Reddy Vanga publicly praised Dhurandhar and its lead performance by Ranveer Singh. This appreciation came shortly after Vanga had been in the spotlight for a reported professional disagreement involving Deepika Padukone over the project Spirit. Instead of controversy, however, his latest remarks shifted the narrative toward cinema, craft, and the evolving language of masculine storytelling in modern Indian films.
Sandeep Reddy Vanga, known for his intense and uncompromising filmmaking style, described Dhurandhar in a way that immediately captured attention. According to him, the film is structured like a man of few words, someone who carries strength internally rather than displaying it loudly. He emphasized that the film moves with dominance and fierceness, yet without confusion or unnecessary chaos. This observation positioned Dhurandhar as a work driven by clarity, control, and emotional restraint rather than excess.
Vanga’s words reflected a deep appreciation for the film’s construction, noting that every creative department seemed aligned with a singular vision. From music to performances, from screenplay to direction, he suggested that the film stands tall due to its disciplined execution. Such praise, especially coming from a director known for setting high standards for emotional intensity and narrative conviction, added significant weight to the conversation around Dhurandhar.
A major highlight of Vanga’s appreciation was his acknowledgment of Ranveer Singh’s performance. He remarked on how Ranveer, along with Akshaye Khanna, appeared to vanish into their characters, leaving behind their star personas entirely. This kind of transformation is often considered one of the highest achievements for an actor, and Vanga’s statement reinforced the idea that Dhurandhar relies heavily on authenticity rather than spectacle.
Ranveer Singh has long been recognized for his versatility, but this performance was described as restrained, grounded, and powerful in silence. Instead of loud expressions or dramatic monologues, the character’s strength seemed to emerge from stillness and controlled emotion, aligning perfectly with the film’s overall tone.
In response to Vanga’s public praise, director Aditya Dhar expressed heartfelt gratitude. He acknowledged that such words, coming from a filmmaker who unapologetically stands by his cinematic beliefs, held special meaning. Dhar highlighted that Dhurandhar was crafted with sincerity, restraint, and conviction, and that Vanga’s recognition served as a quiet yet powerful validation of that journey.
Dhar’s response also touched upon a broader idea of creative solidarity. He spoke about different filmmakers walking distinct paths while still sharing a common commitment to strong, honest cinema. His words suggested a sense of brotherhood rooted in mutual respect rather than similarity of style, reinforcing the notion that Indian cinema thrives when diverse voices remain fearless and authentic.
This exchange between two prominent filmmakers goes beyond individual praise. It reflects a growing conversation about the future of Indian cinema, particularly around themes of masculinity, restraint, and narrative honesty. Both filmmakers are known for rejecting safe, agreeable storytelling in favor of conviction-driven narratives, and their dialogue underscores a shared belief that cinema should remember the brave rather than the comfortable.
Such moments of acknowledgment also encourage audiences to engage more deeply with films that prioritize substance over surface-level appeal. Dhurandhar, as described through these interactions, emerges not just as a film but as a statement about disciplined storytelling and emotional weight.
The mutual admiration between Sandeep Reddy Vanga and Aditya Dhar serves as a refreshing reminder that creative respect can coexist with strong individual voices. Their exchange highlights the importance of sincerity, fearlessness, and clarity in filmmaking. More importantly, it places Dhurandhar in a space where cinema is not just watched, but felt, understood, and remembered for its quiet strength and unwavering conviction.
