Salakaar Review: Mouni Roy And Naveen Kasturia Patriotic Spy Thriller Twists History With Style⁠⁠

Title: Salakaar

Director: Farukh Kabir

Cast: Naveen Kasturia, Mukesh Rishi, Mouni Roy, Surya Sharma, Purnendu Bhattacharya

Where: JioHotstar

Rating: 3 Stars

History is messy. Espionage, messier. Salakaar, a five-episode spy thriller straddling the timelines of 1978 and 2025, dives into both with swagger—offering a tale that’s equal parts political fantasy, patriotic fever dream, and an ode to problem-solvers in sharply tailored suits. At the heart of it all is Adhir Dayal, India’s cerebral Bond, who “thinks out of the box and is a problem solver.”

Narrated in a non-linear format, the series kicks off with Pakistani hardliner Colonel Ashfaq Ulla getting hold of a classified Indian file on “The Kahuta Project.” What the project entails—and why it so interests both nations—forms the crux of the narrative.

Told from Dayal’s perspective, the series captures the cultural crosscurrents of India and Pakistan, peppered with cricket, shayari, and generous helpings of patriotism.

The storytelling, though taut, is occasionally overstuffed with predictability and cryptic zigzags. It hooks you early but ultimately lacks sustained tension—especially in the finale, which leans more toward a “suicide mission” than a strategic spy op.

While the series flirts with rewriting history (or veers into patriotic fan fiction), Salakaar leaves you wondering—does it stir pride or resurface old wounds? Either way, it’s audacious—and in the world of espionage, audacity counts.

Salakaar: Actors' performance

Double-casting a lead is risky, but Naveen Kasturia and Purnendu Bhattacharya—as the younger and older Adhir Dayal—pull it off with aplomb. Kasturia brings sharp intelligence; Bhattacharya adds weight and wisdom. Together, they form a believable continuum.

Mouni Roy as Shristi Chaturvedi, aka Mariam, wears the expression of ‘smouldering concern’ like second skin. Laden with secrets but light on screen time, she’s reduced to a decorative femme fatale. Surya Sharma as the intense Colonel Ashfaq Ulla adds charisma—his romantic detour with Mariam feels like a plot indulgence. Mukesh Rishi, magnetic as ever, plays General Zia-Ulla with easy authority.

Rohit Tiwari, as the R&AW secretary, is let down by a thinly written role. In contrast, Janhavi Hardas brings a burst of authenticity as the embassy staffer—brief but memorable.

Salakaar: Music and aesthetics

Visually, Salakaar is sleek and assured. The production design clearly delineates the two time periods and geographies, lending texture and atmosphere to the narrative. This isn’t just period dressing—it’s visual intent.

The music integrates seamlessly, with the track “Oh baleya, Oh Baleya” becoming a poignant patriotic refrain rather than just a background score.

Yes, the romantic subplot feels obligatory and the dialogues are a touch too tidy—but the solid core performances and stylish execution help smooth over the lulls.

Salakaar: FPJ verdict

Ultimately, Salakaar is less about spycraft and more about stakes—personal, political, and national. A stylishly crafted tale of secrets and sentiment, it walks the line between historical fiction and cinematic revisionism with flair.