Heart of the Beast

Genre: Survival Thriller | Year: 2026 | Duration: 101 mins | Director: David Ayer|  Medium: Theatre (PVR Cinemas) | Trailer: HERE | Language: English| Cast: Brad Pitt, J.K. Simmons, Anna Lambe, and a German Shepherd named Uber | My rating: 4/5

Heart of the Beast is a survival thriller with exceptional visual storytelling, sparse dialogue, and quieter moments between a former Special Forces officer and his combat dog set in Alaskan wilderness. Add a broken arm, a heart attack, wolves, bears, freezing water, snow, blood and a considerable amount of physical suffering, and you have what appears to be a fairly familiar survival thriller. Yet David Ayer’s film, starring Brad Pitt as James Belmont, turns out to be less interested in survival than in the reason we survive. The core theme is not the wilderness but a relationship between a wounded man and an equally wounded dog who have, in some sense, become each other’s last reason to keep going.

James (Brad Pitt) is a former Special Forces soldier who has travelled to Alaska with Odin, his German Shepherd and former combat companion. Both carry the physical and psychological remnants of war and suffer from PTSD. Odin has lost a leg, while James carries his own injuries and memories. Their retreat into the wilderness initially looks like an attempt at escape, perhaps even healing. But when James’s plane crashes due to a heart attack mid-flight, the landscape that was supposed to offer solitude becomes an obstacle course. The two must make their way back to civilisation across a vast and hostile landscape. The premise is almost elemental with a man, a dog, nature and the distance between life and death.

The film has very few characters and even fewer opportunities for conventional dialogue. J.K. Simmons appears in a small but memorable role, while Anna Lambe has a more peripheral presence. For long stretches, the film belongs almost entirely to James and Odin. The absence of conversation makes every small interaction between the two increasingly important. A look, a gesture, a moment of hesitation or the simple act of the dog following its master begins to carry the emotional weight that another film might try to manufacture through speeches.

And this is where Odin steals the film. Played primarily by a German Shepherd named Uber, Odin is not treated as a cute cinematic accessory. He is a working animal, a veteran, a companion and, eventually, something closer to family. The film avoids turning him into a talking or excessively anthropomorphised dog. He remains recognizably canine, which makes the bond more convincing. Much of the emotional communication between the two comes through glances and physical proximity. The filmmaking is particularly effective here as the combination of Brad Pitt, cinematography, editing and the animal handlers makes Odin’s reactions unusually expressive without forcing them into sentimentality.

Brad Pitt as James is exceptional, and there is little of the easy charm that has defined some of his most recognisable roles. He has very well portrayed James as physically battered, emotionally withdrawn and often barely capable of speaking, and Brad Pitt therefore has communicated this through his posture, exhaustion and facial expression. The result is a performance that depends less on charisma than on vulnerability. 

The film’s treatment of masculinity is also more interesting than its muscular exterior initially suggests. Ayer has made plenty of films about men, violence, soldiers and damaged masculinity, and Heart of the Beast initially appears to belong squarely in that tradition. James is capable, physically tough and accustomed to danger, and knows how to survive. But the film gradually undermines the idea that survival is simply a demonstration of strength. He survives because he cares for something outside himself. His relationship with Odin makes vulnerability possible. The soldier who has been trained to endure pain discovers that endurance is not the same thing as living.

That gives the title an additional resonance. The ‘beast’ gestures towards something inside the characters—the violence, fear and instinct that war has left behind.Heart of the Beast is not a reinvention of the survival movie. Brad Pitt’s weathered performance, the spectacular wilderness, the physical tension and, above all, a remarkably expressive dog steal the show. Its occasional clichés and uneven visual effects prevent it from becoming something deeper or more formally adventurous. But the film understands that emotional power does not always require complexity. Sometimes it requires only two beings refusing to abandon each other. And for a film about survival, that is perhaps the most important thing it has to say.

What if love became infrastructure 

I got the title (more like borrowed) from a WhatsApp group where a member shared the theme of the ‘At One Impact Week 2026’ conference in Singapore. This one powerful phrase, ‘what if love became infrastructure,’ made me think deeply from romantic and philosophical perspectives initially, and finally from an economist’s viewpoint, and I ended up doing a visioning exercise (sort of) for the future. Ideating and eventually writing this essay took me back down memory lane when I was a student of Social Planning.

We think of infrastructure as something tangible, visible and measurable, like roads, bridges, electricity, water systems, digital networks and financial systems. We know how to calculate their construction costs, estimate their economic returns, and argue over who should pay for them. We even understand that infrastructure can determine the destiny of societies and can alter the trajectory of an entire generation. But there is another infrastructure without which none of these systems ultimately works, and yet it rarely appears in our economic imagination. It is invisible, difficult to measure and almost impossible to commodify. It is love, not romantic love, though that matters too, but the broader human capacity to care, to notice, to remain, to take responsibility for another person’s wellbeing. We have traditionally treated love as a private emotion and have failed to recognise it as a public resource.

Every society runs on enormous quantities of unpaid love, like a parent getting up in the middle of the night for a sick child, or a daughter accompanying an ageing parent to hospital. However, none of these acts is generally counted as economic output. They do not appear in national accounts and are not part of productivity statistics. However, if we remove it altogether, hospitals will become more crowded because there will be nobody to care for people after discharge. Children will require more formal intervention because fewer adults will be available to support them. Elder-care systems will become unaffordable. Workplaces will become less resilient because employees have no one to rely upon outside them. We have created elaborate systems to compensate for the absence of care while rarely acknowledging the care that prevents those systems from collapsing in the first place.

The more efficiently we organise modern economic life, the more we seem to separate it from the relationships that make life worth living. We have become remarkably good at producing things and increasingly uncertain about how to sustain one another. We can deliver almost anything to a doorstep within minutes, but we cannot guarantee that someone will sit beside an elderly person who is lonely. We can communicate instantly with someone on the other side of the planet, but millions of people live without a person they can call when they are frightened. We can build increasingly intelligent machines, but many people struggle to find another human being willing to listen without looking at a screen. The technological revolution has reduced distance while, in some unexpected ways, increased emotional distance. Perhaps this is not a contradiction, and perhaps we simply solved the wrong problem. We became extraordinarily good at connecting devices, markets and information, while leaving the architecture of human connection largely to chance.

If love were infrastructure, loneliness would become an infrastructure deficit. That may sound absurd today, as we are used to thinking of loneliness as a psychological condition, a personal problem or sometimes a consequence of individual choices. But imagine applying the logic we already use elsewhere. If a community has no reliable public transport, we do not tell every resident to become better at walking, instead, we investigate the transport system. If people have no access to clean water, we do not blame them for being thirsty. If an entire generation has inadequate access to education, we do not simply advise young people to become more self-motivated. We build schools and institutions. Why, then, when millions of people experience profound social isolation, do we so quickly individualise the problem? Perhaps some loneliness is personal and inevitable. But some of it is produced by the environments we have built, like cities designed around cars rather than encounters, housing designed around privacy rather than community, workplaces designed around productivity rather than belonging, digital platforms designed around engagement rather than connection, and economic systems that leave people with less time for the relationships they depend upon.

The future city may therefore have to answer a question that today’s urban planning rarely asks if the city make it easy or difficult to belong? A well-designed neighbourhood might not simply be one where people can reach work quickly. It might be one where an elderly person can walk to a park, a child can meet other children, a young professional can enter a community without already knowing someone, and a person living alone has places to go where consumption is not the price of admission. Public libraries, community kitchens, parks, sports facilities, cultural centres, pedestrian streets and shared spaces are not mere amenities but relational infrastructure. Their purpose would be partly to create the conditions under which relationships can emerge naturally. Nobody can be ordered to make a friend. Governments cannot manufacture affection, but governments can certainly create environments in which human beings are more likely to meet one another, spend time together and develop trust.

This would require us to rethink the economics of care. Our economic systems are designed to value what enters markets. Care becomes visible when it is professionalised and paid, like a nurse, childcare worker, therapist, home-care worker, etc. But when the same work is performed by a spouse, parent, sibling, friend or neighbour, its economic value often disappears. What we fail to measure, we tend to underinvest in. And what we underinvest in eventually becomes a crisis. The care economy is therefore not an alternative to the productive economy; rather, it is one of its foundations. Every employee who arrives at work has already been sustained by some network of care. Every entrepreneur has had someone who tolerated their uncertainty. Every successful professional has, somewhere along the way, benefited from someone else’s patience, encouragement, childcare, emotional support or practical help. Economic independence is rarely as independent as we like to imagine.

Perhaps the next stage of capitalism will involve recognising this by redesigning institutions around the reality that people have caring responsibilities. Not by putting a price on love itself, because the moment love becomes a transaction, we risk destroying precisely what makes it valuable. Parental leave, elder care, flexible working, community services and mental-health support are not corporate generosity or welfare expenditure but investments in the infrastructure of human capability. The question would no longer be how much care we can extract from individuals before they burn out, but how we can design economies that reproduce care rather than consume it.

The 20th century built welfare states around the assumption that governments could provide a substantial share of social security. And now, the 21st century is discovering that governments cannot provide human presence, which is increasingly scarce. As populations around the world age and families become smaller, geographically dispersed and increasingly mobile, the question of who will provide everyday human care will become one of the defining social questions of the century.

We are approaching a world in which machines can converse, remember, personalise and simulate empathy with extraordinary sophistication. An AI companion may be available 24 hours a day, never become bored, never interrupt and never judge. For millions of lonely people, this may provide genuine comfort. There is nothing inherently tragic about that. However, if machines become exceptionally good at giving us the feeling of being understood, will we become less willing to tolerate the inconvenience of understanding another human being?

Human relationships are inefficient as they demand time, contain misunderstandings, and require compromise. Other people have needs that compete with ours, and they disappoint us, change, and sometimes even leave. But these inconveniences are not defects in the human system but are more part of what relationships teach us. A machine can perhaps simulate unconditional attention; another human being offers the possibility of mutual responsibility. The challenge for technology, therefore, should not be to replace human relationships but to protect the conditions under which they can flourish. The best AI may ultimately be the AI that saves time for us by reducing bureaucracy for doctors, helping families care for distant parents, assisting teachers, making public services easier to navigate and freeing people from repetitive work. Technology should ideally expand the space available for human presence rather than fill that space itself.

If this sounds utopian, consider how many things that once seemed private have already become legitimate subjects of public policy. We once treated literacy as an individual matter, and now we build education systems. We once treated disease as fate, and now we build healthcare systems. We once treated poverty as personal failure, and now we debate social protection. Our definition of what society owes its members has expanded repeatedly. Perhaps relational wellbeing will be the next frontier.

Imagine a future national wellbeing report that contains a metric nobody takes seriously today: the capacity to care. It might measure how much time people have for family, whether older people have regular social contact, whether young people have trusted adults, how many neighbourhoods possess accessible community spaces, whether workers can take time off for caregiving without economic punishment and whether people feel that they belong somewhere. Imagine a company reporting not only employee turnover but whether its organisational culture leaves people with enough time and psychological capacity to maintain lives outside work. Imagine investors recognising that communities with high levels of trust and social connection are more resilient in crises. These ideas may sound soft compared with infrastructure spending today. But history repeatedly demonstrates that societies often collapse because the relationships holding them together become brittle.

Love, in this broader sense, is demanding and requires boundaries, accountability and difficult choices. A society organised around love would not be one in which everyone agrees with everyone else or where harm is excused because the perpetrator is human. It would be one in which disagreement does not automatically turn the other person into an enemy, where vulnerability does not become a source of shame and where the dignity of a person is not entirely dependent on their economic usefulness. It would ask a different and radical political question: What do we owe one another?

Perhaps this is where the idea of love as infrastructure becomes most disruptive. Infrastructure is usually associated with physical capital, but civilisation also accumulates relational capital, like trust, friendship, community, reputation and reciprocity. The ability to call someone in a crisis is a form of wealth. Knowing that someone will notice when you disappear is a form of security. Having people who will help you when your circumstances change is resilience. These things are not equally distributed. Some people inherit enormous reservoirs of relational capital through families, communities and social networks, while others inherit almost none. We talk endlessly about inequality of income and increasingly about inequality of opportunity. Perhaps it’s time we should also talk about inequality of belonging.

The most interesting possibility is that love may eventually become a new way of thinking about development itself. It will be a recognition that human beings are profoundly relational creatures and that any civilisation that ignores this will eventually pay for it through other systems like healthcare, welfare, policing, education, mental-health services and lost productivity. What we fail to provide through relationships, we eventually attempt to provide through institutions, often at vastly greater cost.

And perhaps the deepest irony is that we already know how to build this infrastructure. We do not need a revolutionary technology. We need to rediscover ordinary human practices that modern life has made increasingly difficult, like sitting with someone, listening without checking the phone, knowing the names of neighbours, sharing food, visiting the elderly, creating public spaces where nobody needs to buy anything, giving people time to care, allowing friendships to develop slowly and treating presence as something valuable rather than unproductive. The infrastructure of love is built in minutes, conversations, gestures and acts of attention. 

When we imagine the future, we tend to imagine what technology will allow us to do. Perhaps a more important question is what technology will allow us to stop doing, and what we will choose to do with the time we recover. If AI does our paperwork, who will we visit? If autonomous vehicles drive us, who will we meet on the journey? If machines educate our children, who will teach them how to care? If algorithms know our preferences better than our friends do, will we still make the effort to know one another?

The future will not be short of infrastructure. It may, however, be short of reasons to use it together. Perhaps the civilisation that comes after ours will judge progress differently. It may look back at our obsession with highways, buildings, bandwidth, productivity and growth and wonder why we spent so much effort making things faster while allowing relationships to become harder. It may find it strange that we measured national wealth but not the wealth of human connection, counted houses but not homes, calculated healthcare expenditure but ignored the unpaid care that kept millions alive, and celebrated technological connectivity while tolerating extraordinary levels of loneliness. And perhaps the great infrastructure revolution of the future will begin with a deceptively simple realisation that the purpose of infrastructure is not to connect roads, machines, markets or data, but to enable human beings to live meaningful lives together.

Tomorrow, and Tomorrow, and Tomorrow

Author: Gabrielle Zevin | 476 Pages | Genre: Fiction | Publisher: Knopf Publishing Group | Year: 2022 | My Rating: 9/10

Tomorrow, and tomorrow, and tomorrow,
Creeps in this petty pace from day to day,
To the last syllable of recorded time; 
And all our yesterdays have lighted fools
The way to dusty death. Out, out, brief candle!
Life’s but a walking shadow, a poor player,
That struts and frets his hour upon the stage,
And then is heard no more. It is a tale
Told by an idiot, full of sound and fury, 
Signifying nothing.

Tomorrow, and Tomorrow, and Tomorrow by Gabrielle Zevin is a novel about two friends who make video games together, but to describe it merely as a story about gaming would be as misleading as describing Moby-Dick as a novel about whale hunting. Zevin’s masterpiece is an exploration of creativity, friendship, ambition, grief, identity, and the fragile ways in which human beings love one another without always knowing how to express that love.

When I first picked up the novel, I expected an engaging literary story set against the backdrop of the video game industry. A few chapters later, I realised that the games were merely the canvas. Zevin was painting the extraordinary complexity of human relationships and the strange ways in which we create worlds, both real and imaginary, to survive the one we inhabit. Zevin understands that every act of creation, whether writing a novel, composing music, designing a game, or building a company, is an attempt to answer one of humanity’s oldest questions: how do we leave something meaningful behind? The medium, in this case video games, becomes almost incidental. The real story is about people trying to make worlds because they often struggle to inhabit the one they have been given.

The story follows two childhood friends and extraordinarily gifted individuals, Sam Masur and Sadie Green, whose lives become intertwined through collaboration, separation, misunderstanding, and extraordinary creative success. Their relationship defies easy categorisation, as they are not conventional lovers or just friends. They are collaborators, rivals, emotional anchors, and occasionally strangers to one another. Zevin refuses to reduce their bond into the familiar romantic template that dominates contemporary fiction. Instead, she asks a more difficult question, that can two people become the defining relationship in each other’s lives without ever fitting into society’s conventional definitions of love? That question becomes the emotional centre of the novel.

Reading their story reminded me that the people who influence us most are not always those we fall in love with. Sometimes they are the ones who challenge us intellectually, provoke us creatively, infuriate us endlessly and yet remain impossible to erase from our lives. Some relationships cannot be explained because they are not meant to fit into conventional categories. They simply exist, shaping us in ways we understand only in retrospect.

Having spent much of my own professional life designing programmes, developing products and trying to build ideas into reality, I found these sections deeply familiar. Every creator knows the strange mixture of excitement and insecurity that accompanies making something new. You begin with certainty. Halfway through, you become convinced the entire idea is flawed. Then, somehow, persistence carries you to the finish line. Creation is less an act of inspiration than an act of endurance. That may be why the novel resonated so deeply with me. It understands that building anything worthwhile, whether a business, a social movement, a novel or even a meaningful life, is emotionally expensive. Every achievement extracts a cost that outsiders rarely notice.

Popular culture often celebrates the myth of the solitary genius—the lone inventor, the brilliant artist, the visionary entrepreneur. Tomorrow, and Tomorrow, and Tomorrow dismantles that myth. Great creations emerge not only from talent but from friction where ideas are challenged, egos bruised, compromises negotiated, and failures endured. Sam and Sadie create remarkable games because they disagree passionately. 

The novel treats video games as an art form deserving the same intellectual seriousness traditionally reserved for literature, cinema, or painting. This is perhaps the novel’s most refreshing contribution. Too often, games are dismissed as entertainment or escapism, but Zevin recognises that games are narrative architecture. They are spaces where people rehearse choices, explore identities, confront loss, and imagine alternative futures. The novel argues that games possess a unique emotional power because they require participation. Unlike readers or film audiences, players make decisions. They fail, they try again, they persist, and in that sense, games resemble life more closely than almost any other artistic medium.

Another remarkable strength of the novel is its understanding of friendship. Contemporary fiction often privileges romance as the highest form of intimacy. Friendships frequently exist only to support romantic plots. Zevin reverses that hierarchy and makes friendship the central emotional relationship, possessing every complexity usually reserved for marriage or romance. Sam and Sadie hurt one another in ways that only deeply significant people can. Their conflicts rarely emerge from malice. Instead, they arise from silence, assumptions, pride, and emotional immaturity. Zevin understands that relationships often fail not because people stop caring but because they become incapable of communicating what they most need to say.

The supporting characters deserve equal appreciation, particularly Marx Watanabe, whose warmth and emotional intelligence provide a necessary counterbalance to Sam and Sadie’s intensity. Marx embodies generosity without becoming sentimental. He possesses the rare gift of seeing people as they are rather than as they wish to appear. In many ways, he becomes the novel’s emotional conscience.

What impressed me most was the novel’s refusal to produce heroes or villains. Every major character behaves selfishly at times and generously at others. They make admirable decisions alongside regrettable ones. Zevin understands that adulthood rarely consists of moral certainty. Instead, it is an ongoing negotiation between personal ambition and responsibility toward others. Relationships remain ambiguous because real relationships often are. Love does not always seek possession. Friendship does not always remain stable. Success does not guarantee happiness. Closure, when it arrives, is partial rather than complete.

By the final page, I realised that the book’s most profound insight had very little to do with technology or gaming. It was about the people who make us more creative, more courageous and more ourselves. The greatest masterpieces we produce are rarely individual achievements. They emerge from conversations, collaborations, disagreements and relationships that leave permanent fingerprints on our lives.

Tomorrow, and Tomorrow, and Tomorrow deserves its reputation as one of the finest contemporary literary novels not because it speaks to gamers but because it speaks to anyone who has ever created something, lost someone, pursued an impossible ambition, or struggled to articulate love in all its imperfect forms. Gabrielle Zevin has written a novel that is intellectually stimulating, emotionally devastating, and quietly hopeful. Long after finishing the novel, I found myself thinking that the most important creations in our lives are often not the products we build, but the relationships that make those creations possible. Everything else is temporary. The worlds we imagine together, however, continue to echo, tomorrow, and tomorrow, and tomorrow.

Poetry in a cup

My love for cappuccino goes back 25 years, when a friend of mine took me to a fancy cafe for coffee and cake. Until then, I had only enjoyed Nescafé from those old coffee machines and served in paper cups. One sip of this elixir, which was creamy, velvety, and audaciously flavourful, and I was ruined forever. This coffee in a ceramic mug not only brought a new flavour but won my taste buds and heart for all eternity. It was proof enough that nirvana sometimes comes with foam.

Since then, Capp, as I affectionately call it, and I have been the best of buddies. I have made new friends, dated, had breakups, found my startup partners, discovered new employers, hired employees, pitched to clients, met strangers, mentors, mentees, colleagues, inventors, professors, and who’s who over mugs of cappuccino. Capp has been my best mate during my ‘me’ time. Capp has helped (and continues to do so) me think, innovate, write articles and poetry, introspect, and just be me.

Capp has played roles that most people reserve for therapists, advisors, or wise friends. It has seen me through emotional crisis, creativity bursts, writer’s blocks, existential questions, and Mondays. It has provided intellectual companionship, whether I am solving crosswords or writing a new blog post. Every time I’ve needed clarity, I have found it swirling somewhere between the foam and the last sip. Forget meditation, real introspection happens when your hands are wrapped around a warm cappuccino mug, and you’re staring into the nothingness like a philosopher lost in thought.

I think Cappuccino is one of the greatest social equalisers ever invented! At almost all the cafés, you’ll find students, entrepreneurs, artists, engineers, poets, procrastinators, and people pretending to work, all looking thoughtful and slightly existential when holding a cappuccino mug. Over the years, I have met strangers who later became collaborators, collaborators who became friends, and friends who introduced me to even more cappuccinos. If networking had an official beverage, Capp would be printed on the business cards. At this point, if LinkedIn allowed a ‘coffee quotient,’ mine would be among the highest across generations.

But beyond work, people, and the illusion of productivity, Capp has been the guardian of my ‘me-time.’ While the world insists on shouting through notifications, deadlines, and existential adulthood, a mug of cappuccino quietly reminds me to breathe. Those quiet moments in cafés with just me, Capp, my lit B & H regulars, a notebook or iPad, or a newspaper are where most of my thinking actually happens. Poems, ideas, reflections, plans, memories, confessions, and stories have all been brewed with Capp as my thinking cap. If a cappuccino had consciousness, it would be quietly judging me for the number of drafts I’ve abandoned midway, and they now decorate the ‘Notes’ app in my iPhone/iPad.

There is a ritualistic romance to the warmth of the mug, the gentle collapse of foam, keeping the coffee art till the last few sips, and the world slowing just enough to let me feel human again. Somehow, every sip feels like a reminder that life doesn’t unfold only through big milestones, but often, it’s held together by tiny pauses over coffee.

After a quarter of a century, my love for cappuccino is still burning bright, even though I have tried its other cousins. But I always return to Capp because Capp is comfort, consistency, creativity, and companionship poured into a single mug. So, here’s to the witness to my chaos, the co-author of my ideas, the soundtrack to my solitude, and the warm friend who has been present in more chapters of my life than any human possibly could. If love could be brewed, steamed, and topped with foam art, it would taste exactly like this.

And after 25 years, I’m still not done sipping.

Stressed, blessed, and cappuccino-obsessed, that’s my motto, I confess!

120 Bahadur 

Genre: War Drama | Year: 2025 | Duration: 160 mins | Director: Razneesh Ghai|  Medium: Theatre (PVR Cinemas) | Trailer: HERE | Language: Hindi | Cast: Farhan Akhtar, Raashil Khanna, and others | My rating: 3.5/5

120 Bahadur is based on the real-life sacrifice of the 120 soldiers of Charlie Company, 13 Kumaon Regiment of the Indian Army at the Battle of Rezang La during the 1962 Sino-Indian War. It chronicles the extraordinary courage of 120 Indian soldiers who stood their ground against 3000 Chinese troops. The film focuses on Major Shaitan Singh Bhati (played by Farhan Akhtar), showcasing the grit, sacrifice, and valour of soldiers fighting in the brutal cold and high altitude of Ladakh. The story is narrated through the memories of a surviving soldier, and it unfolds as a tribute to the heroism of a band of brothers whose courage came at the highest cost.  

The film’s strongest suit is its war sequences and immersive realism. The battle sequences at Rezang La, rifle fire, bayonet charges, final close-quarters combat, the harsh terrain, bone-chilling cold, and the almost claustrophobic desperation when ammunition runs out are realised with a fierce intensity that’s rare for many modern Hindi war films.  The film features brilliant cinematography by Tetsuo Nagata, with breathtaking shots of snow-covered mountains, freezing desolation, and the starkness of high-altitude warfare.  The film mostly avoids glorifying war for its own sake and is a sober portrayal of the events. This sincerity gives the film humility as it doesn’t frame itself as a triumphant spectacle, but a respectful tribute and remembrance. 

Farhan Akhtar delivers a thoughtful performance. He largely avoids the larger-than-life histrionics often associated with Bollywood war heroes. Instead, he feels rooted, authoritative yet human, decisive yet burdened.  At the same time, the supporting cast, many of them lesser-known actors, bring the infantrymen to life with grit, camaraderie, humour, and vulnerability. Their messy friendships, small conversations, homesickness, and occasional fears humanise what might otherwise have been just a war drama with guns and trenches.  

However, the film seemed to have weak character development; their individual stories were barely sketched out. This makes certain deaths feel less impactful emotionally, more like casualties on a battlefield than deeply personal losses. Because of that, while the collective sacrifice hits home, personal grief and tragedy often don’t. The film’s narrative isn’t always smooth, as flashbacks to family life, interspersed with the lead-up to battle, sometimes break the tension. The prelude drags at times, and the buildup to the climax lacks the steady escalation that such stories need for maximum impact.  

I felt that the depiction of Chinese soldiers has been overly simplified and tends to lean towards caricature: monolithic, villainous, almost cartoonish, robbing them of nuance or complexity. This weakens the moral weight of the conflict and reduces it to a binary ‘good vs evil’ war movie. In parts, storytelling relies heavily on familiar Bollywood popular drama of last-minute motivational speeches, montage-heavy sequences, formula flashbacks and emotional beats, which keep the film from feeling fully original.  

120 Bahadur is not a perfect film, but it is an earnest, important one. It doesn’t glamourise war, and it doesn’t demand you leave the theatre cheering mindlessly. Instead, it makes you reflect on duty, courage, and sacrifice. As a cinematic recreation of a tragic but heroic moment in India’s history, the film succeeds more often than it fails. Its war sequences are unflinching and immersive; its portrayal of brotherhood and sacrifice is heartfelt; its lead performance is measured and credible.

But beneath the combat and solemn patriotism, it made me think that India’s rural society holds the backbone of India’s defence forces. The film also has a sociological moment where rural identity, class, caste, and nationhood intersect. The men of Charlie Company came largely from agrarian communities, especially the Ahir (Yadav) belt of Haryana and Western UP. Their lives before the war were shaped by farming cycles, monsoon anxieties, livestock, joint families, and deeply rooted village cultures. The film becomes a testament to how rural young men, in search of dignity, livelihood, and service, become the face of national defence but rarely the face of national storytelling.

Despite its narrative shortcomings, 120 Bahadur performs a cultural service of returning Rezang La to public consciousness.