After navigating a maze of socio-political and cultural controversies, the much-anticipated Indian Punjabi film Sardaar Ji 3 has finally been released — though ironically, not in its home country, India. The global release excludes Indian cinemas, leaving an audience of 1.5 billion film enthusiasts unable to experience what was marketed as a comedy feast. At the heart of the ban lies a diplomatic discomfort: the film stars Pakistani actress Hania Aamir as the female lead — a casting decision that has seemingly triggered censorship in India.
The ensemble cast features prominent names including Diljit Dosanjh, Neeru Bajwa, Manav Vij, Gulshan Grover, Nasir Chinyoti (also from Pakistan), Jasmin Bajwa, Sammy Jonas Heaney, Daniel Khawar, Sapna Pabbi, and Monica Sharma. The film is directed by Amar Hundal and produced by Gunbir Singh Sidhu and Manmord Sidhu, with writing credits shared by Rakesh Dhawan, Dheeraj Rattan, and Manila Rattan.
Adding to the geopolitical irony, Pakistan — which has long banned Indian films — made a rare exception by allowing Sardaar Ji 3 to screen in its cinemas. This diplomatic gesture could be interpreted as a soft power move to promote cultural exchange, especially between Pakistan and East Punjab, including its vast Sikh community. It subtly underscores how art can bridge divides, even in times of tension.
Personally, I’ve always cherished how music and cinema transcend borders — especially in the context of India and Pakistan. With the global Punjabi diaspora thriving, Punjabi films, music, and theatre often rise above nationalistic narratives, becoming a shared cultural space.
The Story: Ghosts, Romance, and Recycled Gags
Building on its predecessors, Sardaar Ji 3 follows the continuing adventures of ghost-hunter Jaggi (played by Diljit Dosanjh). This time, he stumbles into a bizarre cross-border tale filled with supernatural oddities, mistaken identities, and star-crossed love. The film’s horror element — a ghost trapped in a castle, later revealed to be the spirit of a villain’s long-dead twin — is as absurd as it is undercooked. The fact that the corpse was kept for years in a simple wooden box, untreated and unexplained, stretches even fantasy’s elastic boundaries.
Despite its chaotic setup, the film tries to deliver a blend of comedy, horror, action, and patriotic sentiment, but the genres clash rather than complement. A romantic subplot involving a charming girl attempts to infuse emotional depth, but is diluted by loud slapstick and over-the-top antics. While trying to uphold themes of righteousness and redemption, the story lacks cohesion, and its moral undertones get lost in the noise.
Performances: Hania Shines, Diljit Stalls
Hania Aamir dazzles on screen with her natural charm, fashionable styling, and confident screen presence. Her dance numbers are visually stunning, bolstered by captivating lyrics and scenic backdrops. Her dimples and vibrant energy make these sequences a visual treat for Pakistani audiences. That said, her inconsistent Punjabi diction required technical intervention and dubbing — a flaw that slightly mars an otherwise impressive performance.
Diljit Dosanjh, on the other hand, seems creatively stuck in a loop. His performance feels recycled — the same brand of exaggerated comedy and familiar facial expressions that once brought novelty, now feel tired. Despite his charisma and global stardom, Diljit appears trapped in a character mould he helped popularize a decade ago. Sardaar Ji 3 misses an opportunity for him to evolve, and instead leans heavily on old tricks that have started to wear thin.
His portrayal of Jaggi no longer surprises or grows. It’s as if the actor, much like his character, is haunted by his own legend — unable or unwilling to break the mould and take creative risks.
Supporting Cast & Genre Mix
Neeru Bajwa, returning as the ghostly figure Pinky, adds elegance and gravitas to the film. Her role — while not central — offers emotional grounding. Her character’s selfless decision to step aside for Jaggi’s romantic arc adds a mature touch. Neeru’s seasoned acting and expressive delivery create much-needed balance amid the film’s chaotic narrative.
However, the movie falters in its attempt to blend horror and comedy — a delicate balance that few scripts can master. The horror thread, while thematically promising, is clumsily inserted and receives only a few minutes of screen time, robbing it of its intended impact. A significant twist involving family betrayal and supernatural revenge is reduced to a brief subplot in a film that otherwise prioritizes gags over gravity.
The attempted lesson — that evil deeds beget evil outcomes — is barely given room to resonate. As a result, the story’s climax feels emotionally hollow and structurally weak.
The Broader Picture
At its core, Sardaar Ji 3 feels like a sugar-coated snack — sweet, colorful, and forgettable. It clings to genre tropes and nostalgia without adding meaningful substance. Its spiritual references and attempts at political symbolism — while timely — seem tacked on rather than fully integrated.
The real letdown is not the film’s light-hearted tone, but its refusal to grow. Punjabi cinema is evolving, with more daring stories and complex characters. Yet Sardaar Ji 3 chooses to remain in its comfort zone, relying on slapstick, visual gags, and the enduring — but now predictable — star power of Diljit.
Final Verdict
While it may entertain fans of the franchise and offer a few standout moments (especially from Hania and Neeru), Sardaar Ji 3 ultimately misses the chance to be more than a comic sequel. It reminds us that while art can transcend borders, it must also evolve beyond its own past. Without reinvention, even the brightest stars risk becoming echoes of themselves.
