Defending faith against fascism – Beyond Bollywood

The story of Saurashtra’s unsung heroes, Hamirji Gohil and Vegdaji, finally gets told in Hindi. It’s a heartfelt effort by writer, director, and producer Kanubhai Chauhan. However, the lead cast doesn’t quite match the weight of the story. Still, Vivek Oberoi gives a fine performance as the antagonist, Zafar Khan

Rating: ⭐️⭐️ (2 / 5)

By Mayur Lookhar

The recent India-Pakistan conflict reminded us just how valuable our freedom is. We owe a deep debt of gratitude to the Indian Armed Forces, who risk their lives to protect millions of civilians. The sacrifices of those who are martyred should never be forgotten.

Sadly, India has many brave heroes whose stories have gone untold. Their courage lives on mainly in regional legends, rarely making it into the national spotlight. One such story is that of Hamirji Gohil and Vegdaji—two fearless warriors from Saurashtra who gave their lives defending their faith and people against the oppression of the Tughlaq dynasty in the 14th century.

Their heroic tale was first told through the Gujarati film Veer Hamirji (2012), directed by Nilesh Indu Maruti Mohite. The film was shortlisted to represent India at the Oscars but ultimately lost out to the Bollywood film Barfi! 13 years later, producer, writer, and co-director Kanubhai Chauhan and his family have paid tribute to Hamirji and Vegdaji through their Hindi film Kesari Veer (2025). Reportedly, it was his wife’s wish for the family to honour the Saurashtra legends through a cinematic tribute. Sadly, Mrs. Chauhan passed away in 2023.

Story / History

Many, like me, were unaware of their heroic stories. Hamirji, a 16-year-old prince from the Arthila kingdom, gave his life trying to stop Zafar Khan, a brutal general of the Tughlaq dynasty, who aimed to destroy the Somnath Temple. Hamirji was supported by Vegdaji, a brave tribal warrior from the local Bhil community, who fought fiercely against Zafar and his army. Tribal-Rajput union is also what makes this story memorable.

The recent India-Pakistan conflict exposed how the radical Pakistani army didn’t shy from targeting civilians, and even tried to hit religious centers, Golden Temple in Amritsar.  Hey, we’re in 2025, and why would the Pakistan Army even contemplate on striking at religious centers in India?

The long history of Islamic invasions in the country is replete with tales of such gruesome acts. The invaders understood the cultural significance of Hindu religious centers, and by destroying them, they dealt a blow to the morale of the local Hindu population and to their faith. Needless to say, they also plundered the temple’s wealth.

Zafar wasn’t the first to lay siege to Somnath. In the 11th century, Mahmud of Ghazni destroyed the temple, but it was rebuilt. Alauddin Khilji’s army attacked in 1299, followed by Zafar Khan’s siege in 1395. Altogether, the Somnath Temple was attacked 17 times, with the final desecration taking place in 1665 when Aurangzeb ordered its destruction. It wasn’t until India gained independence that the temple was restored under the leadership of Sardar Vallabhbhai Patel in 1951.

Screenplay & Direction

Kesari Veer tells the story of Gohil and Vegdaji’s fight against Zafar Khan and his army to protect the Somnath Temple. The film intentionally avoids going into the later desecration of the temple. Some may quickly label Kesari Veer (2025) as pushing a Saffron agenda, but it’s hard to ignore the brutal invasions and destruction of temples and religious centers during centuries of Islamic rule. Today, the Somnath Temple might just seem like a historical, religious site to many, but its importance is clear when you see the hostility radical forces across the border still have toward it.

Remember how Pakistani comedian Umar Sharif boasted in a show about the destruction of Somnath Temple by an Islamic invader? It’s a reflection of how Pakistan, a nation built on anti-India and anti-Hindu sentiment, has long taken pride in these acts of desecration. That’s why a rock solid Somnath Temple still rankles people across the border.

Though a lesser-known chapter in Saurashtra’s history, Kanubhai Chauhan, co-writer Shitiz Srivastava, and director Prince Dhiman bring the historical tale to life with a blend of mythology, music, a hint of romance, and above all, larger-than-life cinema. The film opens by explaining the mythological significance of the Somnath Temple, narrated in the baritone voice of Sharad Kelkar.

While Kanubhai and Prince Dhiman had a clear vision, it’s hard not to notice a few echoes of Baahubali, Padmaavat and RRR in Kesari Veer. Just three months ago, we saw Laxman Utekar’s Chaava. The common themes of barbaric Islamic rule and forced conversions are similar, reflecting the reality of that time. However, with the massive success of Chaava still fresh in people’s minds, Kesari Veer might have benefited from a slightly more spaced-out release.  While Kesari Veer relies on larger-than-life drama, it certainly can’t be accused of tweaking history to suit any narrative.

Given the current social and political climate, some may question whether Kesari Veer could deepen the social and religious divide. It’s important to remember that today’s minority communities shouldn’t feel linked to the brutal actions of historical invaders—though that’s easier said than done. Filmmakers need to be mindful to avoid letting ethnocentric views seep into storytelling. While the invaders came with a fascist mindset, films like this shouldn’t be seen as just a display of Hindu valour. Kesari Veer stands as a story of resistance against fascism, but at times, it does lean heavily into Hindu nationalism.

Acting

The story of Hamirji and Vegda’s courage deserved to be told in Hindi, and Kanubhai Chauhan clearly had a strong cinematic vision. However, we believe the writer-director, producer, and the creative team may have misjudged the casting of the two lead roles. Sooraj Pancholi has never been widely regarded for his acting, and his career has been weighed down by the Jiah Khan suicide case. Though the courts have since cleared him, a lot of water has flowed under the bridge.

At 34, Pancholi doesn’t convincingly pass as a 16-year-old, despite the filmmakers’ best attempts to make him look younger. Interestingly, his not-so-tall frame actually helps the illusion. With a broader nose, long hair, and a slight mustache, he even invites passing comparisons to Luke Evans. He has the physique for the role, but the same familiar weaknesses remain—his emotional expressions and dialogue delivery don’t quite land. That said, he does impress in the action sequences.

One of the film’s most striking images is when Zafar Khan’s brother attacks the Gohil palace, and Chauhan presents Pancholi almost like a warrior incarnation of Lord Shiva. Perhaps it was that powerful visual that convinced Chauhan he’d found his Hamirji.  We’re still curious as to why his actor father, Aditya Pancholi, has been thanked.

Veteran actor Suniel Shetty puts most 63-year-olds to shame with his incredible fitness. While he plays a character close to his age, his strength feels almost superhuman. As Vegdaji Shetty is portrayed as a devout follower of Mahadev, almost sage-like in his demeanor. But when the enemy appears, he transforms into a fierce warrior, wielding his axe with raw power, much like Parshurama. One of his action scenes might be a bit over the top, especially when he saves a massive Shivling thrown off a cliff. First, he stops its fall by throwing a Trishul then somehow holds the Shivling under his strong shoulders, which feels a bit like Prabhas carrying a Shivling in Baahubali. In the final battle, Shetty’s Vegdaji will rekindle memories of his in-your-face bravado from films like Border (1997). While his roles may have become less frequent, Shetty hasn’t helped his cause by not evolving much as an actor. As a matter of fact, both Shetty and Pancholi shine purely for their brawn.

Debutante actor Akanksha Sharma has a natural screen presence, but it doesn’t quite match the intensity required for the role. As Rajal, she isn’t just the love interest of Hamirji she’s also Vegdaji’s daughter and a skilled archer. At first glance, she doesn’t quite look like a Bhil, but there’s a backstory to her character. It’s tough to be too harsh on a debutante, but not every young actor gets the chance to star in a historical epic as their first film. One can only hope that she learns from this experience and grows as an actor in the future.

Vivek Oberoi’s career has been quite the enigma. After a few early hits and the infamous Fool’s Day press conference in 2003, his career largely went downhill. His choice of films didn’t help, and what once seemed like a promising career turned average. Over the years, his opportunities have dwindled. However, credit where it’s due, Oberoi grabs the Kesari Veer role with both hands. When the trailer first came out, we feared we might see another over-the-top performance from him, but he pleasantly surprises with a fairly intense portrayal.

With his beard and Islamic general warrior outfit, he certainly looks menacing, but it’s his sadistic smile and the satisfaction he gets from vanquishing his enemies that truly intimidates. Maybe Ranveer Singh’s portrayal of Alauddin Khilji has set a benchmark for the barbaric Islamic invader in cinema, and Oberoi’s Zafar Khan feels like another version of that, but the seasoned actor still manages to stand out among the leads. His performance does justice to the character. It was a little befuddling to see the man not celebrate after eliminating his most fierce rival. He’s a man who inflicted pain on his opponents, and yet, in his final act, we see a more emotional side to him. Why do that? Perhaps Chauhan didn’t want to completely alienate the minority audience.

Technical aspects / Music

It’s not so much the three-hour runtime, but rather more competent protagonists, that would have led to better engagement. That said, the film stands out for its impressive production design by Priyanka Grover and convincing art direction by Baji R Patil. While there’s the usual VFX, the look, locations, and atmosphere really transport you back in time. Add to that the striking cinematography by Vikas Joshi, which gives Kesari Veer a strong visual storytelling appeal. The neat background score complements it well.

The blend of mythology, history and larger-than-life action comes with some over-the-top moments, but Chauhan and his team handle the final battle convincingly. While the image of a headless warrior fighting in a frantic manner is a little exaggerated, the film’s best moment comes in the final battle when Hamirji and four others take on hundreds of Zafar Khan’s men. It’s a moment that recalls 300 or maybe even Saragarhi, a true Kesari Veer moment.

Though adding a musical tone is fine, Kanubhai Chauhan and Prince Dhiman aren’t quite blessed with standout playback music (by Monty Sharma). There were nearly half a dozen tracks, but none struck a chord.

Final Verdict

For all its shortcomings, one must still admire the vision of Prince Dhiman and Kanubhai Chauhan. While that vision may not have fully translated into a completely engaging experience, the film’s visual appeal, strong performance by the antagonist, and the valour of Hamirji and Vegdaji deserve our respect.

Watch the video review below.