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I wrote an adaptation of murgadoss’s sarkar Arjun Talvar - Salman Khan Aisha - Wamika Gabbi Devyani - Tabbu Veeru- Suniel Shetty Aadi Varma - Allu Arjun Rukmani - Farida Jalal Small rukmani - Inayat Varma Saumya - Barkha Singh Vivek - Shubham Gaur Zakir - Viraj Ghelani Small Rukmani and saumya’s father - Mahesh Manjarekar Director - Ali Abbas Zafar Music - Pritam Background Score - Anirudh Ravichander Produced by skf Good and bad of plot Only writing nothing else Its meant to be a typical bhai film I know some scenes are r rated but its just in writing These scenes will be shot in different manner Devyani and veeru are co-villains none of them are lead Both are equal

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cd /home/daytona/workspace && pandoc --track-changes=all "/home/daytona/workspac…

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I now have a thorough read of the full script. Let me give the analysis.

SARKAR (Adaptation) - Plot Analysis

THE GOOD

1. Strong hook with Saumya's opening Opening with a journalist who already has the evidence, then immediately killing her off, is a smart choice. It establishes stakes before the hero even arrives and gives the investigation a concrete MacGuffin (the pen drive). Better than the original's more passive setup.
2. The election fraud as personal trigger Arjun gets pulled in because his own mother's vote was stolen - not because someone recruited him or he's a crusader by default. That's grounded. It makes the conflict feel local and real before it scales up. Very much in keeping with the Bhai film tradition of personal honour being the entry point.
3. Rukmani (Farida Jalal) is genuinely well written Her scenes with Devyani are some of the strongest on the page. The confrontation where Devyani strangulates her with her own chunni, and Rukmani stays defiant, is a great villain-vs-dignity moment. The line "Ghamand nhi vishwas hai" lands well. Farida Jalal can carry that scene entirely.
4. Co-villain dynamic actually works on paper Devyani as the political brain and Veeru as the enforcer with his "painless death" motif is a clean division of roles. They don't overlap. Devyani manipulates, schemes and intimidates through status. Veeru is quiet, physical menace. The fact that neither is subordinate to the other gives them both screen presence without one eclipsing the other.
5. Aisha as a functional co-protagonist She's not decorative. She spots the fake eviction notice, she breaks into a car, she does CPR. She is given actual competence. That's rare in this genre and it works here because it doesn't threaten the hero - it supplements him. Wamika Gabbi suits this completely.
6. Aadi Varma's entry is earned The warehouse siege where Arjun is genuinely beaten down before Aadi blasts the door off is the right structure for a cameo entry. The tactical tandem fight that follows - Arjun using Aadi as a launch pad - is a good stunt beat that serves both stars without making either look lesser.
7. The fake tweets as Saumya - smart third act move Arjun channelling Saumya's evidence through her own dormant social media, essentially keeping her alive as a weapon, is the most clever plot mechanic in the script. It's also emotionally resonant - Vivek's grief gets an outlet, justice is served posthumously. That's a genuinely good idea.
8. Rukmani's death as the emotional gut punch Killing the mother late in act three, specifically 18 hours before voting, is the correct escalation. It removes the one thing Arjun has been protecting throughout the whole film and finally makes it about something bigger than himself. Ali Abbas Zafar knows how to shoot grief - this will work.

THE BAD / PROBLEMS

1. Saumya's assault scene is tonally catastrophic for the opening Opening a Bhai mass entertainer with a gang assault, two days of captivity and murder is a brutal tonal miscalculation - even if shot differently on screen. The audience arriving for a mass commercial film is not prepared for that weight as the very first scene. The original Sarkar (Thalapathy) opened with a different rhythm. Recommend cutting the explicit detail entirely. Imply her disappearance and let Vivek's breakdown do the emotional work later. You already acknowledged it needs handling differently on screen - that's true, but the writing itself needs editing here.
2. Arjun's backstory is under-explained and used selectively "7-8 years ago, army captain, 100% record, then one mission failed, quit army, no trace after" - this is handed to the audience through a villain's goon reading from a file. The audience deserves to understand what that failed mission was. It's hinted it's connected to Aadi Varma ("ITS TIME" on both laptops) but never properly paid off. Either commit to a flashback or remove the mystery entirely. Currently it's a half-built subplot.
3. The Zakir thread is thin Zakir (Viraj Ghelani) appears to be the honest candidate Arjun is trying to protect, but his characterisation is almost absent. We're told he's ahead in exit polls but we barely know who he is or why he deserves to win. If the whole film is about ensuring a fair election, the man who stands to win that election should be someone the audience is rooting for. He needs at least two scenes that give him character.
4. The "ITS TIME" laptop sync is unexplained and never resolved clearly The mysterious unknown figure communicating with Arjun via synced laptops is clearly set up as the Aadi Varma reveal - but the payoff isn't written with enough clarity. When Aadi actually arrives at the warehouse, there's no moment where Arjun and he acknowledge this prior connection on screen. The audience will feel the setup was bigger than the resolution.
5. Bobby as the physical antagonist is introduced too late and disappears mid-narrative Bobby shows up, delivers Arjun's only genuine defeat, takes the documents - and then the narrative moves on. His final scene in the climax is quick. For the film's strongest physical threat, this is anticlimactic. He deserves a more decisive end, something that lets Arjun close that specific humiliation loop.
6. The Saumya pen drive is forgotten After Vivek mentions Saumya left evidence on a pen drive before disappearing, the pen drive itself is never retrieved in a scene. The tweet plot twist implies Arjun got the evidence somehow - but the document trail is fuzzy. How did the evidence reach Arjun? This needs one clean scene to plug the gap.
7. Romance is told not shown "There is a blossom of love between Aisha and Arjun" is a stage direction, not a story beat. Their romance has no proper scene of its own until the kidnapping creates urgency. For a Bhai film, you need at least one proper romantic interlude - a song, a banter scene, a moment that makes the audience invest in them as a pair. Pritam needs material to work with.
8. The climax location is generic The final confrontation happens in a warehouse/open area. Every Bhai film ends in a warehouse. Consider giving the final confrontation a more symbolic location - the electoral commission building, the slum they fought to protect, somewhere that ties geography to theme.

OVERALL VERDICT

The bones are solid. The political stakes, the villain pairing, the mother-son relationship, and the Saumya ghost thread are all genuinely strong ideas that elevate this above a standard retread. The script's main structural problem is loose ends - the army backstory, the pen drive, Bobby's resolution, and Zakir's characterisation all need tightening before this reads as a complete screenplay. Fix those four things and you have a properly strong Ali Abbas Zafar script.
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