The third member of Rohit Shetty’s “cop universe” of cinematic heroes — Sooryavanshi — is introduced in his namesake film. It’s even worse than I expected it to be.
The plot draws from the standard Bollywood “supercop” genre playbook. A sleeper cell of Islamic terrorists is planning an attack on Mumbai, and the only man who can stop them is Veer “Surya” Sooryavanshi (Akshay Kumar). What differentiates the film is the degree to which it leans into lazy genre tropes and outright harmful stereotypes.
First among the lazy tropes is that patriotism is a blanket excuse for reckless or immoral actions. Shootout in a crowded marketplace? Extrajudicial murder of unarmed perpetrators? Engaging in a firefight with a suspect while your son is in the car, leaving the boy wounded? All okay, so long as they’re done for the sake of the country.
This feeds into the second lazy trope: that patriotism is the only personal quality that matters. There’s a theme in the movie about the importance of family, but it only pertains to Surya’s wife Ria (Katrina Kaif), not Surya. Ria wants to protect their son Aryan from Surya’s blinkered commitment to duty, and she’s painted as the villain for wanting to move to Australia without her husband. Never is it mentioned that maybe Surya should not have married or procreated if his duty to country prevents him from ever prioritizing his family and may require him to put them in danger. But that leads us back to the first lazy trope: Surya’s patriotism excuses him being an awful father and husband.
Another lazy “supercop” trope is that the hero is the only person who can defeat the villains. No one else in the vast local and federal anti-terrorism infrastructure is up to the task. When Surya takes one afternoon off at Ria’s insistence, one of his team members dies (making Ria the bad guy once again).
One caveat: Sooryavanshi skirts this lone-hero trope in its climactic sequence by including cameos from the other members of Shetty’s “cop universe” — Simmba (Ranveer Singh) and Singham (Ajay Devgn). Together, the trio defeats the terrorists in a climactic showdown that lacks spatial orientation. Lots of stuff explodes, but rarely ever within the same frame as the star actors, ruining the immersion.
All the cameos do is remind the audience that Devgn is the only actor of the three with the charisma to pull off this type of character. That Singham wins the final fight in this, another hero’s movie, just cements that.
Beyond an over-reliance on tropes — which can be forgiven if a movie is fun — Sooryavanshi is deplorable in its depiction of Muslims. It builds the plot around the harmful stereotype that every Muslim man deserves suspicion as either a possible terrorist or a corrupter of Hindu women. The only way to prove that you’re a patriotic Indian Muslim is to join the police force or collaborate with them, despite knowing that they engage in torture and extrajudicial murder.
It makes for depressing viewing. When it’s not depressing, it’s annoying thanks to Surya’s pathological inability to remember people’s names. The joke is revisited frequently, and it’s never funny.
The only positives in Sooryavanshi are Javed Jaffrey’s grounded performance as a veteran counter-terrorist agent and Akshay Kumar’s entertaining hand-to-hand fight scenes, of which there are too few. But for them, the film would be irredeemable.