Cinema VinesActor Suvinder Vicky, who first captured public attention as the memorable policeman Balbir Singh in the film Kohrra, has now found himself at the center of two very different cinematic projects – the controversial web‑series Satluj and the blockbuster feature Dhurandhar 2. In an exclusive interview with the Hindustan Times, Vicky explained how the two works have tested his range and highlighted the challenges of portraying violence and historical events on screen.
Vicky admitted that his role in Dhurandhar 2 was small yet demanding, involving a great deal of physical abuse. He said the character’s portrayal earned him unexpected internet fame, with fans creating memes that turned his on‑screen persona into a viral sensation. “I never became a meme before, but after Dhurandhar, a lot of memes were made on my character, so I was on a high,” he recalled.
In contrast, his performance in Satluj is that of a negative figure set against the backdrop of the 1984 anti‑Sikh riots. Vicky expressed concern that audiences might react harshly to his character, but he believes that contemporary viewers are capable of distinguishing fiction from reality. “If actors did not play these characters as authentically as possible, many would not feel the fear of that time,” he said, stressing the responsibility of filmmakers to present historical truth with integrity.
Vicky also addressed the release issues surrounding Satluj. The film has been banned from theatrical distribution, and he noted that pirated versions are circulating online. While he does not condone piracy, he believes that a film ultimately reaches its audience through whatever means available. He added that a proper theatrical release would have allowed the makers to recoup their investment and provided viewers the experience of watching the story on a big screen.
When asked about the depiction of violence in movies, Vicky highlighted the fine line between realism and sensationalism. He remarked that both real‑life dramas and fictional stories draw from societal events, and the audience’s perception depends on how the material is presented. “Hum hi insaan hai, hum hi shaitan hai. It depends who takes what in what sense,” he said, noting that modern viewers have more options than before, with digital platforms offering alternatives to traditional cinema. He concluded that the authenticity of the portrayal ultimately determines whether the violence feels real or gratuitous.
