Kartavya Review: Saif Ali Khan Anchors a Dark Rural Thriller That Tries to Say Too Much

Kartavya Review: Saif Ali Khan Anchors a Dark Rural Thriller That Tries to Say Too Much

Writer/Director – Pulkit

Cast - Saif Ali Khan, Rasika Dugal, Sanjay Mishra, Saurabh Dwivedi, Zakir Hussain, Manish Chaudhari. Yudhvir Ahlawat

Runtime – 108 Minutes

Platform – Netflix

Rating – 3

Kartavya is one of those films that begins with enormous promise. It creates an atmosphere filled with tension, political unease, and emotional conflict, making you believe you are about to witness a deeply layered rural thriller. Directed by Pulkit, the film dives into themes of corruption, caste politics, abuse of power, and fractured family relationships. While the film succeeds in building a believable and unsettling world, it eventually loses momentum under the weight of its own ambitions.

The story follows Pawan Malik, played by Saif Ali Khan, a police officer posted in the fictional town of Jhamli in Haryana. Pawan is assigned to investigate the murder of a journalist, but the deeper he digs into the case, the more dangerous the truth becomes. What initially appears to be a straightforward investigation slowly exposes connections involving politicians, religious figures, and powerful local networks that thrive on fear and silence.

At the same time, Pawan’s personal life begins falling apart. His younger brother chooses to run away for a love marriage, triggering a storm inside the family and the community. Suddenly, the issue is no longer just about relationships—it becomes entangled with caste identity, family honor, and social pressure. The film smartly runs these two parallel narratives together: one involving crime and corruption, the other rooted in emotional and familial conflict.

For a significant portion of its runtime, Kartavya manages this balance impressively well. The family drama never feels disconnected from the police investigation, and both tracks contribute to the growing sense of tension. The portions involving Anand Shri’s ashram are especially effective because they tap into fears and realities that feel disturbingly familiar in today’s socio-political environment. These moments give the film a sense of urgency and realism that keeps the audience invested.

However, the screenplay begins to weaken after the interval. The film becomes overly dependent on twists and revelations, as though it constantly needs to shock the audience to maintain engagement. While a few of these twists genuinely work, others feel forced and unnecessarily dramatic. Instead of strengthening the emotional impact, the constant narrative turns begin to dilute it. The story gradually loses focus, and by the final act, the emotional grip established earlier starts slipping away.

Saif Ali Khan is undoubtedly the biggest strength of the film. Over the years, some of his best performances have come when he has stepped away from polished urban characters and embraced more grounded roles. As Pawan Malik, he brings vulnerability, anger, exhaustion, and helplessness together beautifully. He does not play the character as a heroic cinematic cop, but as a deeply flawed man trying to survive pressures coming from every direction. In several scenes, Saif communicates more through silence and expression than through dialogue. His Haryanvi accent feels surprisingly natural and never distracts from the performance.

That said, the second half occasionally pushes his character into repetitive emotional territory. The constant outbursts and frustration begin to feel somewhat overused, making certain scenes less impactful than they could have been.

Rasika Dugal delivers another sincere and understated performance, although the film does not utilize her talent fully. She brings warmth and realism to her role, but her character is mostly limited to supporting Pawan emotionally. The script never allows her to emerge as a fully independent force within the narrative. Similarly, Sanjay Mishra leaves an impression despite limited screen time, proving once again how effortlessly he can command attention.

Manish Chaudhary fits perfectly into the role of an arrogant senior officer, while Zakir Hussain adds genuine menace to the film. His character is deeply unpleasant, but that discomfort works entirely in favor of the story. One of the biggest surprises, however, is Yudhvir Ahlawat. He portrays a frightened young man trapped under social and emotional pressure with remarkable honesty. His emotional scenes feel raw and authentic.

Visually, the film is extremely effective. The dusty landscapes, dimly lit police stations, village politics, and constant feeling of unease create an immersive atmosphere. In fact, there are moments when the cinematography leaves a stronger impact than the screenplay itself. The background score also plays a major role in maintaining tension throughout the film.

Pulkit’s previous work, Bhakshak, felt tighter and more focused. Kartavya appears to exist in a similar thematic space, tackling institutional corruption and exploitation, but this time the storytelling lacks the same sharpness. The film raises too many issues at once and struggles to give all of them equal emotional and narrative depth.

In the end, Kartavya remains an engaging but uneven experience. It is elevated significantly by Saif Ali Khan’s performance and its immersive atmosphere, yet weakened by an overstuffed screenplay and a climax that fails to land with the power it promises. It is a good film with flashes of brilliance, but it stops just short of becoming truly exceptional.

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