Actress Saumya Tandon, who essays the role of Rahman Dakait’s wife in Aditya Dhar’s Dhurandhar, has been receiving widespread appreciation for her restrained yet powerful performance. Days after the film’s release, the actor took a nostalgic walk down memory lane and revisited her very first day on set, sharing details about an emotionally demanding sequence she shot alongside Akshaye Khanna.
On Thursday, December 18, Saumya shared a series of behind-the-scenes pictures on her official Instagram handle and penned a heartfelt note dedicated to her co-star. She revealed that despite playing husband and wife on screen, she and Akshaye had “barely spoken” to each other before filming their first scene together.
‘Akshay Is Pure Magic,’ Says Saumya Tandon
Describing the moment she first faced
the camera for Dhurandhar, Saumya wrote, “This was the very first scene I shot for the film, in Amritsar, where we see Rehman Dakait’s haveli. It was November last year, and I was a mix of nerves and excitement. My first morning shot was with Akshay lighting his cigarette, silently urging him to take revenge.”
She went on to praise Akshaye Khanna’s artistry and on-set presence, adding, “Akshay is pure magic. We barely had a chance to talk, but the moment the camera rolled, there was an instant connection. I truly feel we share a wonderful chemistry. It’s an absolute dream to have a co-actor like him-such a pure artist, with so much to learn from.”
Saumya also expressed her hope of collaborating with him again, calling the experience a joy and a learning opportunity.
‘My Breakdown Close-Up Was Done In A Single Take’
Opening up about one of the film’s most intense moments, Saumya described the emotional complexity of her character following her son’s death. She wrote, “In this scene, I felt everything at once- anger towards my husband for being the reason behind our son’s death, helpless desperation, and the deep, shared pain between us.”
Revealing a surprising detail from the shoot, she added, “And yes, I slapped Akshay once (not seven times!)-for real- during his close-up, after Aditya insisted it had to be authentic. I was hoping to cheat, but no such luck. My breakdown close-up was done in a single take.”
Saumya also lauded director Aditya Dhar and the film’s art department, particularly recalling the Eid celebration sequence and the prayer meeting scene after her son’s demise, noting how deeply the emotions stayed with her long after the camera stopped rolling.



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