Baadshaho shows up old-fashioned in its strategy with stars mouthing applause-worthy dialogues. Rajat Arora’s one-liners work towards the film. Here’s our movie review.
Solid: Ajay Devgn, Ileana D’Cruz, Emraan Hashmi
Director: Milan Luthria
The year is 1973. A Rajasthan princess thwarts the innovations of a robust politician, who comes with an uncanny resemblance to Sanjay Gandhi, by directing a sword at his center. The animosity between your two takes two years to culminate when the federal government declares the Emergency.
Now, the politician known as Sanjeev (Priyanshu Chatterjee) is after the princess Geetanjali’s (Ileana D’Cruz) life and quintals of silver her family has hoarded for bad times.
Geetanjali’s confidant and lover Bhawani (Ajay Devgn) is determined to hijack the vehicle full of silver on its way to Delhi. Dalia (Emraan Hashmi), Guruji (Sanjai Mishra) and Sanjana (Esha Gupta) are part of his team. But there is a mole among them who might change the game.
It’s an old-fashioned storyline set in an era when the royals were worried about the fate of these private banks. You will find mentions of Sholay and Thakur in the event you still do not get the age right.
Rajat Arora’s dialogues established the mood originally. Bhawani arrives announcing, “Zubaan aur jaan ek hi baar di jaa sake hai, aaj se dono thaare.” You’re slightly intrigued. Baadshaho could be another whistle-worthy ‘paisa vasool’ entertainer like A LONG TIME AGO In Mumbaai.
Emraan Hashmi too takes on to the gallery. His t-shirts have quotes like ‘free love’ and ‘nights special.’ A music displaying Sunny Leone and a run after to showcase Shehar Singh’s (Vidyut Jammwal) acrobatic skills manage to keep carefully the audience involved despite signals that the thrilling area of the story might finish off prior to the end.
Alas, after 10 more minutes, this is precisely what happens, and Baadshaho starts to carefully turn into a dull affair.
The weakest part in this so-called heist film is the heist itself. Actually, it’s one of the easiest heists in cinematic record where in fact the people responsible for protecting the rare metal truck will be the most clueless. The regulators get hold of everyone except the most evident suspect.
Milan Luthria would like Baadshaho to own headstrong and cynical individuals, and the easiest way to do it in Bollywood is by projecting sensational dialogues. Rajat Arora comes useful as he pens one-liners such as ‘Aapke sone ka carat humare figure ko kharab nahi kar sakta’ and ‘Queen ke saath ek cover bhi hota hai’.
But everything goes in vain in the absence of a coherent screenplay. The stars come, oral cavity dialogues and leave space for a different one to do the same, with nothing at all happening in between. What functioned in A LONG TIME AGO In Mumbaai, which possessed the same team, was a good build-up to the climax. Here we all know where it is headed.
Ajay Devgn sleepwalks through his role with extra emphasis on his ‘extreme’ sight. Emraan Hashmi and Vidyut Jammwal are no different. Sanjay Mishra is the most natural of the lot, but this is definately not his personal best.
This leaves us with Baadshaho’s two lead ladies, Geetanjali and Sanjana. Really the only purpose they provide is to include some glamour to the film. Geetanjali is a princess, supposedly an influential one, but she is the most helpless in the program of thing that’s spearheaded by her common bodyguard. Which femme fatale position as well which doesn’t add much to the story apart from providing a twist simply for the sake of it.
Baadshaho has too many ordinarily written people jostling for whistle-worthy one-liners for 136-minutes. Eventually they run in short supply of the steam and Baadshaho becomes a rehashed ’90s storyline with some gloss and lots of disappointment.