I wrote an adaptation of murgadoss’s sarkar Arjun Talvar - Salman Khan

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

Reading File

Running Command

python3 -c " from docx import Document doc = Document('/tmp/workspace/attachments/833bc306-43a7-400e-8d7f-c4f2994a97ea/SARKAR (1).docx') for p in doc.paragraphs: if p.text.strip(): print(p.text) "

Read the full script. Here's a focused breakdown of the good and the bad:

SARKAR (Adaptation) - Script Analysis

WHAT WORKS

1. Arjun's Dual Identity is Well-Constructed His backstory as a disgraced army captain with a moral code rather than just muscle gives the character texture. The fact that he quit over a mission that cost 3 kids their lives (not because he disobeyed, but because he did) is a genuinely interesting grey area. Rare for a "bhai film."

2. The Mother-Son Dynamic Earns Emotional Weight Rukmani is not a prop - she argues back, stares down goons, refuses to be intimidated even without Arjun present. Her death lands harder because she was established as formidable. The scene where the guards hesitate to touch her out of fear of Arjun's reputation is a great beat.

3. Devyani and Veeru as Co-Villains Works Equal-footing co-villains with distinct personalities is the right call. Devyani is politically ruthless and emotionally sadistic. Veeru is methodical and takes pride in "painless death" - his disturbing calmness is more chilling than Devyani's volatility. They complement each other without one overshadowing the other.

4. The Vote Fraud Premise is Grounded Starting with something as mundane as a stolen vote and escalating it into a full political conspiracy is smart structuring. It makes the conflict feel personal and relatable before it becomes operatic.

5. Aadi Varma's Entry is Earned The window-light signaling is a subtle setup that pays off when his entry bursts into the warehouse sequence. The fact he was hinted at but face-unrevealed for the entire first half makes the reveal genuinely satisfying.

6. Aisha Has Agency She is not a damsel. She breaks into the records office, force-starts a stolen car, knows property law, does CPR, follows Arjun against his orders. For a typical massy film, this is noticeably better female writing than average.

7. The Saumya Twist is Clever Using the dead journalist's Twitter account - with Arjun pulling strings behind the scenes - to lure Devyani to the burial site and expose her publicly is the script's sharpest political-thriller moment. It ties the subplot back into the main plot cleanly.

8. Small Rukmani's Scene The child's logic - "Papa says she went to get gifts from God, so we should be happy for her" - cuts through Arjun's grief without being saccharine. It mirrors the older Rukmani's quiet strength. Well-placed.

WHAT DOESN'T WORK

1. The R-Rated Devyani-Veeru Introduction is Tonally Broken The emasculation scene and torture sequence come before the audience has any attachment to these characters as threats. It reads as shock value establishing evil rather than character establishment. For a film meant to be shot differently anyway, the written version may be creating a darker tone than the final product can recover from in the first act.

2. Saumya's Death is Fridged She exists entirely to be killed so her evidence can be found later and her sister can give Arjun an emotional speech. She never gets screen time alive (only flashback and skeleton reveal). For someone described as vocal and important, she is entirely functional to the plot rather than a character.

3. The Bobby Fight Repeats Twice Without Escalation First encounter - Arjun loses, Bobby takes the documents. Second encounter - Arjun wins with an iron rod. The middle section between these two fights does not change Arjun meaningfully. Bobby's defeat in round 2 doesn't feel earned through a strategy shift, just persistence. The "first loss" in a bhai film needs a stronger payoff than "same fight, different weapon."

4. The Interval Block Logic Has a Gap Arjun goes to the construction site to make goons apologize to his mother. He kills all of them. Then he calls Devyani and announces he's coming for her. But moments before this, he had already decided to drop the case. The pivot from "dropping the case" to "full war declaration" happens too fast with too little in between. The emotional trigger (goons threatening his mother and Aisha) needs another beat to make the escalation feel inevitable.

5. Aadi Varma's Role is Underdeveloped for the Casting Allu Arjun is listed but Aadi barely has 10-12 minutes of screen time. He enters, fights, saves Arjun, makes arrangements, leaves. His personality shines in the few moments he has but for a star of that caliber the script gives him almost nothing to do beyond a mass entry and banter. Either expand him or dial back the billing.

6. The Third Act Compression After Rukmani's death, the script rushes. Arjun grieves briefly, small Rukmani speaks to him, he's back in action. The emotional arc of losing his mother - the one person he fought the entire film to protect - gets a few paragraphs. For a film that builds its entire first half on the mother-son relationship, the recovery is too fast.

7. The Election Mechanics are Vague The null-and-void re-election that hands Zakir the victory is told rather than shown. 800-900 people filing complaints sounds significant but we never see the actual legal/political machinery respond credibly. For a script rooted in electoral realism, the win comes from online tweets and vibes rather than anything procedural.

8. Devyani's Post-Jail Setup is Thin The sequel tease (mysterious man in jail) undercuts Devyani's defeat. She was built as ruthless and calculating - her ending feels like a soft parking job rather than a conclusion. For the first film to land properly, her defeat needs to feel complete even if a door is left open.

OVERALL

The bones are strong - it's a proper massy film with a political spine and better-than-average character work for the genre. The villain duo is the script's biggest asset. The main weaknesses are third-act compression, Aadi being underwritten for the star, and the Bobby fight not escalating smartly. Tighten the post-Rukmani grief arc and give Aadi one more scene with genuine stakes and this is a solid template for what you're going for.

In your bad number 2 Saumya death is fridged This same happened in original sarkar In bad number 4 Arjun doesnt call devyani Devyany calls the goon and arjun picks it up He asks her to say sorry she doesnt then he escalates the matter further Bad number 5 That’s exactly his role to save arjun Bad number 6 I want salman khan the actor to show the grief with his acting ability This will be shown on his face Puffy red swollen eyes Haven bathed for 2 days Unshaven Messy Food lying Sad Cant speak properly

Fair corrections. Here's the revised bad section with those points addressed:

REVISED BADS

1. The R-Rated Devyani-Veeru Introduction is Tonally Broken (unchanged)

2. Saumya's Death is Fridged This is a fair criticism but it is worth noting it mirrors the original Sarkar's structure deliberately. If you are consciously adapting that choice, it is a known trade-off rather than an oversight. The only thing to watch is that at least her journalism work feels consequential - the pen drive, the evidence, the tweets should feel like her plan living on, not just a tool Arjun picks up.

3. The Bobby Fight Repeats Twice Without Escalation (unchanged)

4. The Interval Pivot Reads Softer Than Written Re-reading this - Devyani calls the goon, Arjun picks up, she refuses to apologize and doubles down with arrogance. That is actually a cleaner trigger than originally noted. The escalation makes more sense this way. The only remaining issue is pace - the moment Arjun says "ab na toh ye case waapis hoga na tum" it needs to land as a full gear-shift. Make sure the bgm and Salman's delivery treat this as the point of no return, not just a confident line.

5. Aadi Varma's Role Understood - that is specifically his function in the narrative and with the sequel tease it sets him up for a larger role in part 2. No issue with it structurally for this film.

6. Third Act Grief Agreed that the written lines are sparse - but this is exactly the kind of scene Salman Khan carries physically better than through dialogue. Puffy red eyes, unwashed, unshaven, food untouched, struggling to form sentences - if the direction gives him room to be in that state rather than explain it, the restraint in the writing becomes a strength. The risk is only if the production rushes the runtime here. The grief sequence needs to breathe even if barely a word is spoken.

7. The Election Mechanics are Vague (unchanged)

8. Devyani's Post-Jail Setup is Thin (unchanged)

You need not to agree with me. You can also put your own points.

Noted. Here's the full revised analysis with honest pushback where I still have it:

REVISED BADS

1. The R-Rated Devyani-Veeru Introduction is Tonally Broken The emasculation and beheading scene is the very first time we see these two characters. The audience has zero investment yet. Shock without dread is just gore. The original Sarkar built fear for its villains through power and atmosphere before violence. Here the violence comes so early and so extreme that there is nowhere left to escalate to for these characters. When Veeru later kills Rukmani it should be the most horrifying thing he has done in the film - but he already beheaded someone in scene two. The ceiling is hit too early.

2. Saumya's Death is Fridged You said this mirrors the original and that is true. But mirroring a flaw is still a flaw. Saumya is described as vocal, dangerous to Devyani, and important enough to be killed. She gets zero screen time alive. Her only contribution to the plot is dying so her evidence and her sister can serve Arjun's story. If she appeared even once - in a flashback with Vivek, in a news clip, in her own words - her skeleton reveal would land with grief rather than just plot mechanics. Right now it lands as a reveal, not a loss.

3. The Bobby Fight Repeats Without a Strategy Shift First fight - Arjun loses on raw power. Second fight - Arjun wins with an iron rod. The difference is not tactical thinking or a discovered weakness - it is just a better weapon being nearby. Bobby deserves a proper defeat, not an accidental one. If Arjun studied him during the first loss and exploited something specific in the rematch - a bad knee, a blind side, overconfidence - the second fight would feel earned. Right now Bobby's defeat is circumstantial.

4. The Interval Pivot Standing by partial disagreement here. You are right that Devyani calls the goon and Arjun picks up - that is a better trigger than I originally read. But Arjun had already decided to drop the case before the goons even came to his house. He was on his way to withdraw it. So the goons visited a house where the complaint was effectively already dead. Devyani sent them anyway, which is her arrogance. That works. But Arjun's shift from "main waapis le rha tha" to full declaration of war happens in one phone call with no visual beat in between - no pause, no moment of him processing it. One silent close-up of him deciding would make that turn hit much harder.

5. Aadi Varma's Role This is the one point I am genuinely not dropping. Allu Arjun is top billing material. A mass entry, 10 minutes of screen time, and a sequel setup is not enough for what his presence promises the audience. Even within the "saviour" function - give him one standalone scene before the warehouse. Let him exist outside of Arjun's orbit for five minutes. One scene of Aadi on his own terms makes his loyalty to Arjun feel like a choice rather than a given. Right now he arrives, fights, leaves, and the audience who came for him specifically will feel shortchanged.

6. Third Act Grief I stand by this being a potential strength if Salman is given room. The physical description you have - puffy eyes, unwashed, unshaven, food lying around, struggling to speak - is exactly right and exactly what he is capable of. My only note is that the script should protect this sequence from being cut for runtime. It earns the final act. If it gets trimmed to two minutes in editing the whole emotional throughline of the film collapses.

7. The Election Win is Under-Dramatised 800-900 complaints filed online and Zakir wins by a mile. There is no scene of actual counting tension, no scene of Devyani trying to interfere with the re-election, no moment where it looks like it might go wrong. For a film built entirely on electoral stakes the election itself is almost offscreen. Even one scene - a counting room, a live result on TV, people watching in the slum together - would give the victory the weight it needs.

8. Devyani's Jail Scene Undercuts Her as a Villain She spent the entire film being two steps ahead of everyone. The moment she is behind bars she immediately trusts a random mysterious man who walks up to her and asks "arjun talvar?" She does not know this person. She has no reason to trust them. The woman who ran a political machine, orchestrated vote fraud, and ordered a murder does not make alliance deals with strangers in jail five seconds after losing. It makes her look naive in her last scene, which is the opposite of how she was written all film. Either give this person a connection to her established world or give Devyani a beat of suspicion before she agrees.

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