If there’s a compelling element that keeps you engrossed in this film, it undeniably is Vicky Kaushal’s performance. Following a relatively subdued year with less impactful roles in Govinda Naam Mera, Zara Hatke Zara Bachke, and The Great Indian Family, Sam Bahadur offers Kaushal the kind of material that allows him to display the magic he has previously demonstrated in Sardar Udham, Raazi (2018), and Masaan (2015).
Amidst the challenge of portraying Manekshaw’s distinctive gait, affected vocalization, and widely acknowledged effortless charm and quick wit, Kaushal avoids the pitfalls of creating a caricature. His unwavering confidence and self-acceptance off-screen seamlessly translate into the protagonist’s optimism and steadfast belief in his capabilities, establishing Kaushal as a performer with a firm grip over his character.
Sanya Malhotra, portraying Sam’s charming wife Silloo Bode, adds an emotional anchor to the Manekshaw household, seamlessly complementing his maverick energy. Her performance reflects the ease she has recently demonstrated in Jawan and Kathal. The film frequently alludes to the notion that Manekshaw’s victories come at the expense of Silloo and their daughters.
On the other hand, Fatima Sana Shaikh’s portrayal of Indira Gandhi is critiqued as largely unsteady, with blame attributed to the casting choice. The film’s music, characterized as loud, distracting, and unmelodious, is unexpected given Shankar-Ehsaan-Loy’s musical prowess and their previous successful collaboration with Gulzar in Raazi. Despite a mediocre background score, Sam Bahadur effectively utilizes archival footage to enhance the narrative and infuse a documentary-like gravitas into the proceedings. However, this contributes to the film’s passive linearity and abrupt time leaps.