Salakaar Web Series Review: A Spy Thriller That Struggles to Ignite Despite a Stellar Cast

Salakaar: A Tale of Spies and Secrets

Salakaar is a Telugu-dubbed Hindi web series that attempts to weave a complex narrative across two timelines blending historical espionage with modern-day covert operations. The story revolves around Adhir Dayal a fictional character loosely based on Ajit Doval portrayed by Naveen Kasturia (younger version) and Purnendu Bhattacharya (older version). The series alternates between 1978, where a young Adhir works to thwart Pakistan’s nuclear ambitions and 2025 where a new nuclear threat emerges tackled by RAW agent Srishti Chaturvedi alias Mariam (Mouni Roy). With a runtime of approximately 2.5 hours across five episodes Salakaar promises a fast-paced action-packed experience.

Plot and Storyline: A Promising Premise with Flaws

The narrative of Salakaar is ambitious aiming to connect past and present through a tale of espionage nuclear threats and personal sacrifices. In 1978 Adhir Dayal a RAW operative posing as a cultural attaché in Islamabad is tasked with dismantling Pakistan’s secret nuclear facility at Kahuta led by General Zia Ullah (Mukesh Rishi). Fast forward to 2025 Colonel Ashfaq Ullah (Surya Sharma), Zia’s grandson, reignites the nuclear threat prompting RAW agent Srishti to infiltrate his inner circle under the guidance of an older Adhir now the National Security Advisor.

The dual-timeline approach is intriguing drawing parallels between the challenges faced by spies in different eras. The 1978 segments rely on raw instinct and traditional espionage tactics while the 2025 storyline incorporates modern technology such as AI-powered glasses used by Srishti. However the execution falters due to rushed storytelling and logical inconsistencies. For instance the 2025 plotline feels underdeveloped with Srishti’s mission lacking clear objectives beyond gathering intel. The series also struggles with pacing, often prioritising action over character development, leaving viewers disconnected from the emotional stakes.

Certain subplots, such as the personal motivations of Ashfaq and Srishti are introduced but never fully explored resulting in a narrative that feels incomplete. The show’s attempt to balance patriotism suspense and drama often leads to clichés with predictable twists and a climax that resolves too conveniently. While the premise is rooted in real events the lack of attention to detail such as referring to the Indian High Commission as an embassy or depicting Kahuta’s terrain inaccurately undermines its authenticity. Despite these flaws the compact runtime ensures the series doesn’t overstay its welcome making it a decent one-time watch for spy thriller enthusiasts.

Performances: A Mixed Bag of Talent

The cast of Salakaar is one of its strongest assets with several actors delivering commendable performances despite the script’s limitations. Naveen Kasturia shines as the young Adhir Dayal bringing a quiet intensity and authenticity to the role. His ability to portray a spy who relies on wit and courage rather than flashy gadgets makes his scenes in the 1978 timeline the highlight of the series. Kasturia’s seamless transitions between disguises and his nuanced dialogue delivery add depth to a character that could have easily felt one-dimensional.

Mukesh Rishi, as General Zia Ulla is another standout. Known for his commanding screen presence Rishi delivers a menacing yet charismatic performance making Zia a formidable antagonist. His scenes particularly those involving intense confrontations are gripping though the script occasionally reduces his character to a caricature with exaggerated scowls. Surya Sharma playing Colonel Ashfaq Ullah brings intensity to his role with his Urdu diction and body language adding credibility to the character. However his arc feels underdeveloped and the script doesn’t fully capitalise on his potential.

Mouni Roy as Srishti/Mariam is a disappointment due to the writing rather than her performance. While Roy tries to balance vulnerability and strength her character is underutilised often relegated to a damsel-in-distress trope. The AI glasses meant to be a futuristic twist come across as gimmicky and her limited screen time prevents her from leaving a lasting impact. Purnendu Bhattacharya as the older Adhir delivers a solid performance anchoring the 2025 timeline with gravitas though his role is more functional than emotional.

Supporting actors like Ashwath Bhatt add some value but their characters lack depth making them forgettable. Overall the cast’s talent is evident but the weak writing and uneven character arcs prevent them from elevating the series beyond its mediocrity.

Direction and Screenplay: Ambitious but Uneven

Faruk Kabir known for Khuda Haafiz brings his signature fast-paced style to Salakaar. The direction excels in action sequences with well-choreographed chases and confrontations that keep viewers engaged. The 1978 timeline is particularly well-executed capturing the gritty high-stakes atmosphere of traditional espionage. However the 2025 segments feel rushed with the reliance on modern technology like AI glasses appearing more comical than innovative.

The screenplay, credited to Spandan Mishra Faruk Kabir and others is a mixed bag. While the dialogue is crisp in parts certain lines like “Bomb to fod nahi paaye, isiliye bacho ka sar phodte hai” come across as forced and cringe-inducing. The time jumps between 1978 and 2025 are ambitious but poorly executed often disrupting the narrative flow and confusing viewers. The screenplay also fails to explore the emotional and moral complexities of espionage resulting in a story that feels surface-level despite its real-life inspiration.

Technical Aspects: A Visual Treat with Some Missteps

Salakaar scores high on technical aspects, particularly cinematography and editing. Jitan Harmeet Singh’s cinematography captures the contrasting aesthetics of the two timelines effectively. The 1978 segments feature earthy tones and vintage details while the 2025 scenes are sleek and modern though occasionally sterile. Action scenes are a highlight with tight framing and dynamic camera work enhancing the tension.

Editing by Sandeep Francis keeps the series crisp, ensuring the five-episode format doesn’t feel dragged out. However the rapid cuts between timelines can be jarring, disrupting the pacing. The background score by Amar Mohile is inconsistent while it builds suspense in key moments it often overwhelms dialogues making scenes feel overly dramatic.

One notable flaw is the inaccurate depiction of Kahuta’s terrain which is shown as barren and rocky instead of a mix of green and arid landscapes. Such geographical errors combined with factual inaccuracies like calling a high commission an embassy detract from the series’ credibility. Despite these missteps the technical execution is largely competent making Salakaar visually engaging.

Themes and Messages: Patriotism Over Nuance

Salakaar aims to be a tribute to India’s unsung spies particularly Ajit Doval who is known for his covert operations in Pakistan. The series touches on themes of patriotism sacrifice and generational legacy but it often leans heavily on jingoistic tropes portraying Pakistan as a one-dimensional antagonist. While this may resonate with audiences seeking patriotic thrillers it lacks the nuance seen in shows like The Family Man or Raazi which explore the moral ambiguities of espionage.

The generational angle connecting Adhir’s 1978 mission with Srishti’s 2025 operation is intriguing but underdeveloped. The show hints at personal sacrifices and fractured legacies but fails to delve into these themes resulting in a narrative that feels emotionally hollow. The reliance on clichés such as torture scenes and over-the-top villainy further dilutes the storytelling.

Comparison with Other Spy Thrillers

In the crowded landscape of Indian spy thrillers Salakaar struggles to stand out. Compared to The Family Man which balances action drama and character development Salakaar feels shallow and rushed. Its attempt to emulate the gritty realism of Raazi or the high-stakes tension of Special Ops falls short due to weak writing and lack of emotional depth. The series also draws comparisons to Argo particularly in its airport extraction scene but it lacks the finesse and suspense of its Hollywood counterpart.

Telugu audiences accustomed to high-energy spy thrillers like Goodachari or Agent may find Salakaar engaging for its action but disappointing for its lack of originality. The Telugu dubbing while competent doesn’t fully capture the intensity of the original Hindi performances, particularly in dialogue-heavy scenes.

Is Salakaar Worth Watching?

Salakaar is a mixed bag a series with a promising premise strong performances and slick production values but one that falters due to weak writing logical lapses and rushed execution. Fans of Naveen Kasturia and Mukesh Rishi will find moments to appreciate but those expecting a taut emotionally resonant spy thriller may be disappointed. The compact runtime makes it an easy binge for a weekend but it’s unlikely to leave a lasting impression.

For Telugu audiences Salakaar offers a decent dose of action and patriotism but it lacks the depth and innovation needed to compete with the best in the genre. If you’re a spy thriller enthusiast willing to overlook flaws for a quick engaging watch Salakaar might be worth a shot. Otherwise you may want to revisit classics like The Family Man or Goodachari for a more satisfying experience.

Salakaar is an ambitious spy thriller that tries to honour India’s unsung heroes but is let down by inconsistent writing rushed storytelling and a lack of emotional depth. While Naveen Kasturia and Mukesh Rishi deliver standout performances and the technical aspects are largely impressive the series fails to deliver the suspense and nuance expected from a modern espionage drama. It’s a passable watch for fans of the genre but don’t expect it to redefine the spy thriller landscape.