Nana Patekar’s Ma’at Saab, around whom Sankalp thematically revolves, is one of the most interesting protagonists of recent times. Having begun as a student leader, the respected educator has gradually built an army of his own over 30 years. At present, Ma’at Saab commands such reverence and devotion from his disciples that it’s just expected for each of them to follow his word to a fault. And above all, there is a mythical quality to Ma’at Saab’s character and his secret empire, and this world around him is established in an equally eerie manner. When one of those students unwittingly defies the code, in effect breaking the mystique around his worship, all hell breaks loose. 

It’s a brilliant beginning for a show, but Sankalp, directed by Prakash Jha, doesn’t know what to do with its powerful premise. The trajectory of the first two episodes is so impactful, that every follow-up only ends up disappointing you.

Directed by: Prakash Jha

Cast: Nana Patekar, Mohd Zeeshan Ayyub, Kubbra Sait, Bhagwan Tiwari, Neeraj Kabi, Sanjay Kapoor, Meghna Malik

Streaming on: Amazon MX Player

Created by Reshu Nath, the show goes in too many directions with each new episode, as we are introduced to the many pawns of this massive game of chess that’s being played in Delhi and Bihar — CM Prashant Singh (Sanjay Kapoor) and his advisor Waqar (Neeraj Kabi) being the unaware rivals on the other side. However, the way these stories unfold alongside each other makes the show more complicated than complex. You are disoriented by the lack of direction. The more interesting figures like Ma’at Saab, Prashant and Waqar frequently drift away from the proceedings, while other subplots about counterfeit currency and the kidnapping of a young kid take precedence. There is no focal emotional point to the universe here, and Sankalp struggles to rise above this inherent flaw. Of course, a big-scale narrative like this would have many players; but after a point, it becomes too convoluted for its own sake, busy being indulgent while the viewer gets distant. There is also a good backstory twist around episode 4, which strangely doesn’t add too much to the existing conflict between the two rivals. 

Sankalp is also disappointingly bland on the execution level. The languid energy which impressed early on, begins to become a deterrent. The narrative is dry and old-fashioned, and not necessarily in the right way. The tension keeps on building in an exasperating way, and never finds a satisfactory resolve. Even as the show enters its final leg, the narrative still retains the energy of a second act. With Sankalp being a show so driven by its conversations, monologues and moments of confrontation, the writers are obviously doing the heavy lifting here, and unfortunately, they come up short.

Amidst the sprawling narrative, there are occasional moments of brilliant acting from the lead cast: be it Meghna Malik, Neeraj Kabi, or Bhagwan Tiwari (who gets a rare role worthy of his talent). DCP Aditya (Mohd Zeeshan Ayyub) has an intriguing journey of his own, struggling between loyalty, self-respect and ego. However, after a point, it gets difficult to keep track of Aditya’s shifting moral goalposts and loyalties. Mohd Zeeshan Ayyub too struggles to carry that energy of a protagonist who is both the ruler and victim of his circumstances. In contrast, Kubbra Sait’s Parveen comes across as a far more compelling figure, a protagonist of grit and resolve who is allowed to be occasionally flawed in her decisions while remaining someone worth rooting for.

Sankalp derives some of its most emotionally haunting moments out of the thematic exploration of 'What must it take to turn a child against their own parents?' The show also attempts to say something about the perils of cult-like leadership, of blind worship from masses that could lead to catastrophic failures. However, after a point, the focus veers off its psychological complexities, shifting to police raids, cat-and-mouse chase, the works. 

Through all its flaws, Nana Patekar remains in amazing form, and almost carries the show on his shoulders. Ma’at Sab has a mysterious energy to himself, and it’s hard to think of any other actor who would have pulled this off with such conviction. He is also a perfect fit for this gritty Prakash Jha universe — except the projection of this universe itself, despite some fresh ideas, feels somewhat outdated for 2026.