Amaran is a biographical war drama that tells the poignant story of Major Mukund Varadarajan, a member of the 44th Battalion of the Rashtriya Rifles, who tragically lost his life during an encounter in Kashmir’s Shopian district. Directed by Rajkumar Periasamy, the film explores various chapters of Mukund’s life—from his days as a student at Madras Christian College aspiring to join the military, through his training at the Officers Training Academy, to his rise within the Indian Army. In Tamil cinema, particularly in films starring major stars, audiences are often accustomed to heroes overcoming all odds unscathed. However, with Amaran, viewers are aware from the outset that the protagonist's story has a bittersweet conclusion, creating an underlying emotional weight. While the film might not fully capture Mukund as a family man, it certainly honors his legacy as a brave soldier. This is particularly evident in the film's final moments, which are handled with a sense of dignity rather than excessive dramatization. The film takes some time to gain momentum, initially focusing on Mukund’s relationship with his wife, Indhu Rebecca Varghese. Their college romance faces familial opposition, but this segment lacks conviction. The narrative truly picks up once Mukund enters the Officers Training Academy. The action sequences are gripping and maintain tension, effectively justifying the film’s genre. The camaraderie among the officers adds depth, allowing us to connect with both Mukund and his colleagues. The supporting cast, including Bhuvan Arora and Rahul Bose, delivers strong performances, and Geetha Kailasam shines as Mukund’s mother. Sivakarthikeyan portrays Mukund in a role unlike any he’s taken on before. While his comedic charm feels a bit out of place in the lighter college scenes, he excels as the film progresses and dons the military uniform. Sai Pallavi, always adept at conveying emotion, plays a Malayali from Trivandrum. However, her struggles with Malayalam pronunciation detract from her performance, especially during poignant moments. This highlights a broader issue in Tamil mainstream cinema, where female leads are often cast from outside the region, leading to inconsistencies in language representation. A scene referencing the film Thuppakki among the army officers could have been a natural interaction, but instead comes off as a forced attempt at popular name-dropping for audience applause. Despite these issues, Amaran stands as a heartfelt tribute to Major Mukund Varadarajan. The film, with its flaws, ultimately encourages us to celebrate his courageous spirit and enduring legacy.