Martin Movie Review: A one-man show by Dhruva Sarja with an identity crisis of its own

After three years of production marked by setbacks and delays, the highly anticipated action drama Martin has finally hit the silver screen. Marketed as a global spectacle to be released in over 11 languages, the film aspires to deliver a grand experience, but will it also invite viewers to explore its complex story?

The first point of interest in Martin is the story by Arjun Sarja, which explores the theme of duality through the clash of hero and villain. The film thrusts us into this intriguing dichotomy with its central characters, Arjun and Martin (played by Dhruva Sarja). Both share strikingly similar features yet embody opposing forces: one a beacon of positivity, the other shrouded in negativity, with body language resembling animal behaviour. This concept echoes the familiar coin metaphor, where one side represents the head and the other the tail. However, unlike the intrinsic connection of a coin, these two figures are mere reflections—linked by appearance and devoid of relationship.

Director: AP Arjun

Cast: Dhruva Sarja, Vaibhavi Shandilya, Nikitin Dheer, Anveshi Jain

The film opens in Pakistan with a convoluted narrative steeped in action and drama. We meet a powerful gangster, touted to be "as formidable as ten elephants," who escapes from a high-security prison after a violent encounter with two gigantic wrestlers. His mission? To seek out the individual responsible for his near-fatal shooting and uncover details about the gun and bullet that struck his heart. However, a chemical injection during his capture has left him grappling with memory loss, as noted by the doctor (Malvika Avinash), complicating his quest. Ultimately, he manages to land in Mumbai—don’t ask how. At one point, he is revealed as Martin, searching for Arjun, a customs officer, only to assist Mushtak (Nikitin Dheer), the kingpin of a media operation, who is trying to safeguard a truckload of drugs. Their eventual confrontation raises many questions, leaving the audience to unravel this mystery.

In Martin, the story revolves around two characters, Martin and Arjun, each representing different aspects of identity and destiny. Arjun is an orphan from Mangalore entangled in crime, while Martin's background remains unexplored. The film raises questions about identity and connection but ultimately lacks depth, resulting in confusion. Certain episodes and scenes go unanswered, prioritising action over character development. The dialogue feels inauthentic, especially when Kannada phrases are spoken by characters in Pakistan.

The film showcases impressive action sequences and chases but suffers from subpar CGI and VFX, undermining its ambition. As it explores the intertwined identities of Martin and Arjun, it devolves into a chaotic blend of action tropes, with a poorly integrated romantic subplot that lacks emotional weight and distances itself from humour.

Amidst all this, we feel a disconnect between Arjun Sarja's story and AP Arjun's direction and what was expected from Dhruva Sarja, who is the face of Martin. At one point, it even feels like a disjointed collection of action scenes rather than a cohesive narrative.

While Manisharma's songs are passable, Ravi Basrur's background score disappoints, failing to elevate crucial moments. The dialogue, intended to add weight, instead falls flat, lacking the depth needed to connect.

Dhruva Sarja showcases multiple shades of his character, partially succeeding in his portrayal. Yet, some of his delivery feels repetitive from previous works, especially his debut Addhuri. His portrayal of the antagonist is loud and shallow, with the repeated question, “Who am I?” He excels in action, delivering thrilling fight sequences but is given limited opportunities to showcase his dance skills. The supporting cast, including Vaibhavi Shandilya and Anveshi Jain, contributes little as their arcs feel underdeveloped. Notable actors like Chikkanna and Achyuth Kumar have mechanical characters without emotional depth, while others like Sukruta Wagle and Bhoomi Shetty appear in blink-and-you-miss-it roles. The film also features Nathan Jones and Aarash Shah, along with a special appearance by Georgia Andriani.

A particular line, "Martin is not a joke," intended to convey seriousness, instead reveals a sense of disappointment in the film. Another line, "Don’t teach a father how to... make babies," feels out of context, hinting that the filmmakers may not trust their audience's intelligence.

In a world where appearances often deceive, Martin challenges us to explore the complexities of identity and the shadows of our past. The film introduces a signature style from its antagonist, who has a peculiar habit of shooting to the left eye—a metaphorical gesture inviting the audience to reflect on the risks of watching.

While Martin aspires to be a gritty crime drama, it falters due to weak character development, clunky dialogue, and a chaotic plot. The film proves that a tough exterior cannot mask a hollow core.