New Delhi: The choreography behind one of Dhurandhar’s most talked-about moments has now been revealed, with choreographer Vijay Ganguly shedding light on how Akshaye Khanna’s viral entry sequence came together almost entirely on instinct.
In an exclusive interaction with News9Live, Vijay Ganguly explained that the now-iconic moment featuring Rehman Dakait was never designed as a planned dance number.
Rehman Dakait’s entry was never planned as a dance sequence
According to Vijay, the scene was conceived as a celebratory meeting between Rehman Dakait, played by Akshaye Khanna, and a Balochi leader. Director Aditya Dhar had sent over a piece of music along with reference videos of authentic Balochi dance forms. The intention was simple: Rehman would arrive, be honoured with a turban, and the atmosphere would reflect festivity. When Flipperachi’s Fa9la was heard, the energy reportedly clicked instantly. “When we heard the Flipperachi’s Fa9la, we enjoyed it a lot,” Vijay said, adding that the choreography was directly inspired by traditional Balochi movements sourced from real footage.
What followed on set, however, was completely unplanned. On the day of the shoot, Akshaye Khanna suggested adding a small dance element to his entry instead of merely walking in. The idea was relayed to Vijay, who encouraged the spontaneity. Akshaye then observed the dancers, absorbed their movements, and improvised on the spot. “We didn’t even rehearse. We went directly for a take. We got it in only one take. He was so spontaneous. Look how big a hit it has become now,” Vijay revealed.
How tight timelines shaped the final edit of the song?
As the sequence gained popularity, comparisons were drawn between Akshaye’s moves and Vinod Khanna’s steps from Hulchul. Vijay dismissed the parallels as coincidental. “Whatever Akshaye sir has done in Dhurandhar is derived from the authentic Balochi dance moves. The comparisons are just theories. He did it in the spur of a moment,” he clarified.
The choreographer also highlighted the intense preparation that went into the film’s musical portions, particularly Shararat. Reference videos from Pakistan were shared by Aditya even before the song was composed, allowing the team to understand the cultural rhythm and period. The song, shot under severe time constraints, was completed in just one and a half days. Vijay admitted that trimming the song during editing was essential to avoid visual clutter and maintain engagement.
Reflecting on the experience, Vijay emphasised the collective effort behind Dhurandhar. Every department, from the dancers to the DOP, was said to be fully immersed in the director’s vision. “It was possible because the director has prepared us for the moment subconsciously,” he said, crediting the URI filmmaker’s meticulous groundwork for turning chaos into cinematic impact.