Beyond its mammoth box-office success, Dhurandhar has emerged as one of the most talked-about Hindi films in recent times. Everyone seems to have an opinion – some are raving about its craft and entertainment value and calling it a game-changer for Indian cinema, while others have divergent views about its political stance. In an in-depth conversation with us, R Madhavan, who plays Ajit Doval, India’s National Security Advisor, in the film, opens up about the film, his career choices and reinvention at 55.

Drawing a parallel with Hollywood, Madhavan explains, “America makes you believe that if there’s a problem anywhere in the world, only Americans can solve it. They’re always shown as having the answers, and that’s what turned Hollywood into a powerful form of soft power. Whether it’s an alien invasion or a global crisis, American films portray their people as powerful, intelligent and scientifically advanced. That’s why they command such a massive global following. In India, we have all of that too. Yet our stories have largely remained rooted in small towns and smaller mindsets. Dhurandhar shows what Indians are capable of when pushed to the edge; it all feels real.”

The actor clarifies that the film clearly states at the outset that it is a fictional account inspired by real events.

He explains, “Everything shown is rooted in reality. We have been attacked, we have been bombed, a plane was hijacked in Kandahar, and 26/11 happened. So, who are these assailants? If they are our enemies, what are we doing about them? Crime must have repercussions, not just headlines. There are people in this country protecting us without our knowledge. Someone, somewhere, is doing their job right.”

He adds, “If, as a nation, we fail to acknowledge those who safeguard our freedom – be it the administration or the judiciary – we miss the larger picture. Yes, we have shortcomings and issues, but we are still a functioning democracy. Disagreements are natural, but nothing comes before the nation, and not everything is politically aligned.”

From Alai Payuthey and Rehna Hai Tere Dil Mein to Shaitaan and The Railway Men , R Madhavan’s filmography reflects a consistently diverse set of choices. At 55, with the burden of being a solo lead no longer defining his career, is he in a better creative space?

He believes so. “The reinvention is happening because I still feel I’m only at the threshold of giving the industry all that I’m capable of. I haven’t even scratched the surface when it comes to the characters I can play. The films lined up will show you the faith directors and storytellers have in me,” he says.

Madhavan also challenges the long-held notion that only solo leads work. He says, “We’re products of conditioning. The industry makes you believe that only solo leads succeed. But if you look at Hollywood – Al Pacino, Robert De Niro, Jack Nicholson – they’ve all played parallel leads. My role in Shaitaan was a parallel lead. Some might call it a supporting role, but it wasn’t. In Rang De Basanti , I was on screen for barely nine minutes, yet it was one of the leads. In 3 Idiots , we were all leads.”

The actor points out that even in Tanu Weds Manu , the narrative demanded restraint. “It was Kangana’s character that was aggressive and required to take the lead. My job was to step back and let that happen. Similarly, in Dhurandhar, would you say Ranveer Singh isn’t the lead? If you look purely at screen time, he has the most. But the maturity to step back and allow another actor to carry the narrative – that’s what creates iconic films. Parallel leads are the way forward. Storytelling has evolved,” he shares.

Madhavan credits fellow actors for enabling such storytelling. He says, “I’m in awe of Ranveer Singh for allowing that space in Dhurandhar , and of Ajay Devgn for making it happen in Shaitaan . Take me out of Guru , and there’s no one to oppose Abhishek. True solo leads rarely work today. Films like KGF or Kantara are exceptions, not the rule.”

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While the actor had anticipated Dhurandhar’s massive success, Madhavan admits he didn’t fully foresee the intensity of the debates it would spark. “When I heard the narration, I knew immediately that the film would be a game-changer. I expected the discussion to focus more on a social discourse – on what India has become,” he says.