“I Am a Don of Law”: Ujjwal Nikam on Rajkummar Rao’s Biopic, Kasab Trial and Family Sacrifices
EXCLUSIVE
As Rajkummar Rao prepares to portray one of India's most recognised criminal lawyers, Ujjwal Nikam reflects on the 26/11 Mumbai terror attack trial, the constitutional principles behind Ajmal Kasab's prosecution and the personal price of a career devoted to justice.
Pradyuman Kapdia and Swati Bhat
The courtroom has defined much of Ujjwal Nikam's public life. From prosecuting some of India's most high-profile criminal cases to representing the state during the trial of 26/11 Mumbai terror attack convict Ajmal Kasab, the veteran lawyer has spent decades confronting crime through the judicial system. Yet, when filmmakers approached him with the idea of bringing his life to the big screen, Nikam had an unexpected question: What could possibly be so cinematic about a lawyer's life?
In a conversation with Filmi Action, Nikam opened up about the forthcoming biographical film featuring Rajkummar Rao, his experiences during the Kasab trial, threats associated with his profession and the emotional cost of spending years away from his family. The film, being developed by Maddock Films with filmmaker Avinash Arun attached as director, seeks to explore a side of Nikam's journey that extends beyond courtroom arguments and widely reported verdicts.
Why Ujjwal Nikam Initially Questioned the Idea of His Biopic
Unlike conventional Hindi cinema narratives built around romance, action or musical entertainment, Nikam's life story revolves around legal proceedings, criminal investigations and the pursuit of justice. He admitted being surprised when the filmmakers first proposed the project, questioning whether a lawyer's professional journey could sustain a feature film. The filmmakers, however, presented a different perspective. While the public knew that Ajmal Kasab had eventually been executed, many remained unfamiliar with the legal arguments, courtroom proceedings and constitutional considerations that shaped the prosecution. For Nikam, the film offered an opportunity to explain why even an accused terrorist must be prosecuted within the framework of law, rather than allowing public anger to determine the outcome.
The Kasab Trial: Why Due Process Mattered
One of the most significant aspects of Nikam's conversation concerned the judicial process following the November 26, 2008 Mumbai terror attacks, which claimed 166 lives. Mr.Nikam challenged the perception that the proceedings against Kasab were unnecessarily prolonged, emphasising the complexity of the investigation, examination of witnesses and subsequent appeals.
The timeline itself is important. Kasab was sentenced to death by a special trial court on May 6, 2010. The Bombay High Court upheld the sentence in February 2011, followed by the Supreme Court in August 2012. After his mercy petition was rejected, Kasab was executed at Pune's Yerwada Central Jail on November 21, 2012.
For Mr.Nikam, the significance of the trial extended beyond securing a conviction. It demonstrated India's commitment to constitutional safeguards and the principle that criminal guilt must be established through a fair judicial process, irrespective of the accused person's nationality or the severity of the alleged crime.
He also acknowledged the sacrifices of security personnel, including Tukaram Omble, Hemant Karkare, Ashok Kamte and Vijay Salaskar, who lost their lives during the attacks. The broader message of his account is particularly relevant: India's response to terrorism was not confined to security operations but also involved establishing criminal responsibility through evidence presented before the courts.
Rajkummar Rao's Transformation Impresses Nikam
Rajkummar Rao's portrayal of Nikam in Prahaar: The Untold Story of Ujjwal Nikam has emerged as another talking point ahead of the film's theatrical release on October 16, 2026.
Directed by Avinash Arun and produced by Dinesh Vijan's Maddock Films, the film also features Wamiqa Gabbi, Jaideep Ahlawat, Sikander Kher and Lalit Prabhakar, who portrays Kasab. According to Ujjwal Nikam, director Avinash Arun was instrumental in choosing Rao for the role. He also revealed that Aamir Khan had expressed interest in portraying him, although the actor's availability would have required a longer wait. What particularly impressed Nikam was Rao's preparation. Rather than relying extensively on personal meetings, the actor reportedly studied recordings of Nikam's courtroom arguments, observing his vocal patterns, expressions and distinctive approach to presenting legal arguments. Mr.Nikam said he was especially struck by the recreation of the courtroom sequence in which he seeks the death penalty for Kasab, describing Rao's performance as reminiscent of his own experience.
No Glorification, No Unnecessary Cinematic Drama
For Nikam, authenticity was a priority throughout the film's development.
He said he had insisted that neither he nor any other individual should be unnecessarily glorified. He also wanted actual names to be retained wherever appropriate, allowing the narrative to remain connected to the real judicial proceedings. This approach distinguishes Prahaar from a conventional hero-driven biographical drama. Rather than simply celebrating a prosecutor's victories, the film aims to examine the responsibilities, pressures and legal complexities behind some of India's most consequential criminal trials.
“I Am Also a Don, but a Don of Law!”
Despite the seriousness of his profession, Nikam displayed a lighter side while discussing the dangers associated with prosecuting terrorists and organised crime figures. Asked whether threats had ever frightened him or his family, he described such risks as an occupational reality. With characteristic humour, he remarked, “I am also a don, but a don of law!” The remark captures the confidence of a lawyer whose professional identity has been shaped by years of confronting powerful criminal networks through legal institutions. However, behind that confidence lies a far more personal story.
The Family Sacrifices Behind a Public Career
Perhaps the most emotionally revealing part of Nikam's conversation concerned his wife Jyoti and children Aniket and Sharvari. Recalling his involvement in the 1993 Mumbai serial bomb blasts case and the subsequent Kasab prosecution, Nikam explained how years of demanding courtroom schedules kept him away from his family. He estimated that approximately 13 years of his professional life were connected with proceedings at Arthur Road Jail. While his children were growing up in Jalgaon, he was frequently occupied with court hearings and legal preparation in Mumbai. Watching these experiences recreated on screen reportedly prompted an uncomfortable realisation. Nikam acknowledged that, although he had devoted himself to public duty, his wife and children had paid an emotional price for his absence. His reflection adds another dimension to the film. Beyond the familiar image of a determined prosecutor stands a father and husband confronting the personal consequences of his professional choices.
From Jalgaon to India's Most Watched Courtrooms
Nikam's journey began in Jalgaon, Maharashtra, long before his work in Mumbai's high-profile criminal cases brought him national recognition.
He recalled arriving in Mumbai for the 1993 bomb blasts proceedings without being familiar with the city's courts or important administrative offices.
Over time, his involvement in major prosecutions established him as a prominent public figure. Interestingly, Mr.Nikam also revealed an unusual interest outside the legal profession: dog training. He suggested that his experience understanding animal behaviour had, in its own way, contributed to his interest in observing criminal psychology. Although the observation was delivered conversationally, it offered a glimpse of the person beyond the formal courtroom setting.
Why Prahaar Matters Beyond the Biopic?
Courtroom dramas have long occupied a distinctive place in Indian cinema, but Prahaar approaches the genre through the experiences of a real prosecutor and the judicial proceedings surrounding a national tragedy. Its central challenge will be to balance the demands of cinematic storytelling with the sensitivity of the historical events it depicts. Mr.Nikam's account also raises a larger question: How does a democracy uphold constitutional protections while prosecuting individuals accused of acts of terrorism? The Kasab trial provides a particularly significant example because the legal process continued despite the overwhelming public outrage following the attacks.
For Mr.Nikam, that commitment to due process remains inseparable from the pursuit of justice. As Prahaar prepares for release, his reflections suggest that the film's emotional centre may not lie exclusively in the courtroom. It may also emerge from the quieter consequences of a life dedicated to legal duty. His philosophy, expressed during the conversation, offers a fitting perspective: achieving something meaningful often involves sacrifice, but one must learn to value what has been accomplished rather than remain consumed by what was lost.
For a lawyer whose career has unfolded against some of India's most difficult criminal cases, the sentiment carries both professional conviction and personal regret.
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