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👉 Check Today's Deals on Amazon IndiaAditya Dhar‘s latest directorial venture, **‘Dhurandhar,’** is making headlines by breaking box office records and generating buzz about its unique shooting style, especially the dramatic sequences set in Pakistan.
Exploring the Violent Elements in ‘Dhurandhar’
Naveen Kaushik, a prominent actor in the film, expressed his astonishment at the intense and graphic imagery throughout the movie. During an interview with Just Too Filmy, he revealed, “Even though I read the script, witnessing the final product was a different experience. Scenes like the 26/11 depiction and Arjun Rampal’s mind-boggling torture scene made me think, ‘Yeh allow ho gaya?’ (This got allowed)? That scene is truly insane.”
The Grand Scale of ‘Dhurandhar’
Kaushik also commented on the film’s ambitious production scale. He recalled, “When Aditya narrated the storyline, I was intrigued but uncertain if they could pull it off. The team meticulously recreated Lyari in Bangkok, transforming 8 blocks into a vibrant representation of Pakistan. That’s when I recognized the film’s massive scale.”
Life on the Set of ‘Dhurandhar’
He continued, sharing surprising details about the filming conditions: “They used actual houses where crew members stayed during the shoot. The set felt like a real township for 40 days, complete with a restaurant and designated spaces for the costume, makeup, and action teams. It’s clear that ‘Dhurandhar’ has an unparalleled scale.”
Naveen Kaushik’s Favorite Scene
Reflecting on his favorite moment from the film, Naveen shared, “The entire 26/11 scene struck me profoundly, especially the build-up where Arjun Rampal’s character hints at a spy among them. The tension and the subsequent torture scene caught me completely off guard, especially since the trailer cuts off at a critical point.”
Star-Studded Cast of ‘Dhurandhar’
Directed by Aditya Dhar, ‘Dhurandhar’ features an impressive cast, including Ranveer Singh, Akshaye Khanna, Arjun Rampal, R Madhavan, Sara Arjun, Sanjay Dutt, and Naveen Kaushik.
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