Baadshaho Film Review: Oh No!

| September 2, 2017 | 0 Comments

One fine day Bhushan Kumar of T Series and director Milan Luthria were just whiling away their time as to what to do.They had Ajay Devgn and Emraan Hashmi’s dates that were going waste.

Enters writer Rajat Aroraa and gauging the urgency said, don’t worry. The dates won’t go waste. And he narrated a one line story of a daring heist in times of Emergency.

Both Bhushan Kumar and Milan Luthria could’nt understand what Rajat Aroraa was talking of. So the sketchy screenplay was narrated.

Listening to it Bhushan Kumar thumped his table,Milan Luthria jumped from his chair and both shouted in unison ‘Baadshaho tusi great ho’!

That’s how Baadshaho took birth with that sketchy screenplay. You will say what rubbish! What nonsense! I must be out of my mind.

Exactly my point.

Baadshaho is so non sensical,it’s premise so preposterous and absurd that you would want to file a PIL for refunding moviegoers’ ticket money.

The story takes you back to an unsavoury episode in India’s democratic history when Emergency was imposed in year 1975. An extra constitutional authority ruling the country Sanjeev Kumar (Priyanshu Chatterjee)orders confiscation of the entire gold,jewellery of Maharani Gitanjali Devi aka Illena D’Cruz (who parried his advances) and brought to Delhi under the care and watch of a pliable army general,who himself takes the help of Major Sehar Singh(Vidyut Jamwal) to execute the orders.

Well there is nothing official about this loot.As the wounded Sanjeev Kumar says,Its purely personal.

Gitanjali Devi takes help of her loyal bodyguard-turned-lover Bhavani Singh(Ajay Devgn) to stop this transfer of gold from her palace to Delhi.

Whether Bhavani Singh is able to live upto his word given to Maharani,with the help of three others: Dalia (Emraan Hashmi),Guruji(Sanjay Mishra) and Sanjana (Eesha Gupta) forms the crux of rest of the story.

As gold rides in an armoured truck, you are taken for a brass ride through the torturous terrain.

The screenplay is replete with tropes. Character introductions are pure cliches’ and characterisations fake cardboard.The one twist towards the interval makes you jerk up but it’s not enough to keep the adrenalin gushing.

The heist-action-drama suddenly enters into femme fatale zone,then a triangle love story, then avenging the betrayal,as you are taken in and out of flashbacks, trying to make things relevant.

But nothing makes sense for long.The whole scenario is just gold plating.

Performances across the board are functional.Just by wearing bell bottoms and long collared shirts you don’t create a period ambience.Everything is a matter of convenience.Sample this: Parakour chase over house roofs in 1975!

Director Milan Luthria seems to have sleepwalked through the direction. Even a truck chase that has some thrill goes waste in the arid landscape of the screenplay. Except for cinematography(Sunita Radia) that captures and highlights the mood and ambience, nothing holds your attention for long.

Dialogues are no sharp oneliners and quick repartees for which Rajat Aroraa is known. Sample these: Wo army hai to hum Harami.

A character is in the habit of asking: Tumne kabhi carrom khela hai?. Tumne kabhi taash kheli hai?. Sir aapne kabhi saanp pakda hai?.

As a viewer I may say Yes or No to these stupid questions,but I am sure I can say big No,if asked :Tumne kabhi aisi faltu film dekhi hai?

Towards the end Ajay Devgn says :Maine ye bhi kaha tha main kahani badal doonga.

How I wish instead of saying towards the end of the finished film,he had taken steps to change the story at its embryonic stage!

After the copout climax and an abrupt end you want to shout :Badshaho tusi great nhin. Tusi waste ho!.

Rating:

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Category: Reviews

About the Author ()

Dhieraj Mohan is Hindi cinema's keen observer. With earnest interest in its dynamics and constantly changing milieu he revels in dwelling on the discrepancies, idiosyncrasies,contradictions,masala and the formula that defines Bollywood.He is a poet and a screenwriter too,who simply adores Hindi cinema's chameleon like traits.

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