For a while, there is the indication that Anthony D’Souza’s Boss will shape up to be a solid masala outing. There’s a sense of bigness at the beginning, a reference to the events being played out on the hallowed ground of Kurukshetra, and this is followed by a stretch that combines emotion and action and a hint of mystery. An attack on the life of Big Boss (Danny Denzongpa) is foiled by a youngster who happens to be at the scene. When Big Boss asks the boy his name, he simply says, “Bhoolna chahoonga,” that he wants to forget his roots. The buildup to the hero’s entry is pretty good too. After this scene that introduces Big Boss to us, we get the scene where we meet the hero’s father (Mithun Chakraborty), who’s first seen under a portrait of Gandhi and who wears Gandhi glasses, and in case we’re still not clued into this man’s goodness, we hear his name: Satyakant. Then we meet Shiva (Shiv Pandit), the hero’s younger brother. Then we meet the villain, Inspector Ayushman Thakur (Ronit Roy). And only then does Surya (Akshay Kumar) make his appearance, in an action-comedy scene where he brings along his own music and cheerleaders.
Boss is adapted from the Malayalam hit Pokkiri Raja, whose reviews were mostly condescending – but writing for a masala movie is not easy. The must-haves are many, the scope to be different very little, and yet, if you do the same thing, you’ll be accused of having no imagination. And Boss has some good bits. There’s a flashback with a solid punch line. There’s an interesting father-son clash, with the father having to hire the older son’s services to save the younger one. There’s a funny action scene whose lines are inscribed on Surya’s torso. And there are at least two well-choreographed action sequences, the first a parkour-styled chase through high and low, and the second, a series of surreptitious moves by the sons to save their father. (So many crotches are maimed that entire generations of villainy appear to have been wiped out.)
You could even point to some unintentional comedy. Shiva says he met Ankita (Aditi Rao Hydari) at a cultural fest, where he was smitten by her eyes, and the next scene has her rising from a pool in a two-piece bikini – the audience for this movie is certainly not going to be looking at those eyes. Funnier still is the choice of love song for this duo, a rehash of the Jaanbaaz hit, Har kisiko nahin milta. (There’s another rehash, from Ghilli’s Appidi podu.) It’s a wistful song about the difficulty in finding love, and it’s strange that these two are striking poses to it – but given Ankita’s wardrobe (or lack of it), few people will be wondering about such inconsistencies. But this is nothing when compared to Satyakant’s apparent indestructibility. He survives a collision with a truck with just a plaster on his forehead.
The problem with Boss is that after the initial promise, it falls flat. D’Souza wants to keep things lighthearted, but this is not the tone you take when you begin your film with a reference to Kurukshetra and when, at the end, the hero is exhorted to become a warrior out of myth. (“Arjun ka roop dhaaran karna hai tujhe aaj…”) This sort of premise needs a lot of thunder and lightning, and without that, there’s nothing. There’s no juice in the drama – the events surrounding a rape accusation, or Ankita’s renunciation of her brother (she is, of course, the villain’s sister) – and given the weightlessness of the proceedings, the villain’s villainy (he’s the kind who’ll give a loaded gun to a bothersome child) is ridiculously overwrought. Akshay Kumar does what he can to keep things afloat, taking care of the action and the drama and the comedy, but unless you’re Amitabh Bachchan, these one-man circus shows are never a good idea.
Copyright ©2013 Baradwaj Rangan. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Bunny
October 20, 2013
“Unless you’re Amitabh Bachchan, these one-man circus shows are never a good idea.”
Bravo Rangan. Nobody could have described this kind of cinema better.
LikeLike
MANK
October 20, 2013
The original Pokkiri raja was a masala laugh riot parody trading off on real life persona of superstar Mammootty and his obsession with speaking English and wearing dark glasses as well as the competition from the younger heroes as represented by prithviraj in the film. Also he makes his entry only at the interval point as the movie centers on Prithviraj and an assortment of comedians who provide the requisite(over the top,double meaning etc etc) laughs. That was what made the movie a success. Unfortunately here the movie centers totally on Akshay kumar and the real point of the original is lost.
LikeLike
Sam
October 20, 2013
It seems half of the reviews say it is a good setup pre-interval and lousy post-interval, and then the other half say it is boring pre-interval and a blast post-interval. That reflects the nature of the film, sitting halfway in between an Agneepath style masala movie and a more nonsensical Rowdy Rathore style masala movie. Part of me wonders if D’souza wanted to make the former but he hedged his bets making it more like the latter. I agree with most of what you said, but I actually loved the film. The crazy balance worked for me. All of the elements work really well on their own, and for how disparate they all are, I think they are held together by D’Souza’s assured direction, much improved from Blue, and the strong performances. I’m surprised to be saying this, but I am really looking forward to whatever D’Souza does next. But this is one of those movies where I feel like the lone crazy person.
LikeLike
venkatesh
October 20, 2013
“and the next scene has her rising from a pool in a two-piece bikini – the audience for this movie is certainly not going to be looking at those eyes”
Hey ., you say it as if its a bad thing –
LikeLike
RAjesh
October 20, 2013
It must be very very difficult to write a 4 paragraph (approx 1/3 of paragraph went to Ankita’s wardrobe) review for such a crap film. Bravo BR bro.
LikeLike
vinjk
October 21, 2013
pokkiri raja itself was bad….i’m sure bollywood would have taken it to the next level
LikeLike
ram
October 21, 2013
Sorry, off topic q – could you elaborate a little on the Meryl Streep like “fussiness” that you mentioned in your “Lunchbox” review…have seen a lot of Streep’s work as well as Irrfan Khan’s movies and am trying to understand the nuances of their performances better…
LikeLike
brangan
October 22, 2013
MANK: Did the original “Pokkiri Raja” have the good bits I mentioned in para 2? Just curious if these are taken from that film, or written newly for this one. Thanks.
Sam: FWIW, I didn’t detest it. There were certainly moments…
ram: I wrote about this in an earlier column. Fussy acting meaning… (among other things) doing showy things with hands and gestures and body… that whole “look ma, I’m acting” thing… I’ve never been a fan of Streep except in her comedy roles… she’s the queen of “look ma, I’m acting.”
LikeLike
MANK
October 22, 2013
BR:There’s a flashback with a solid punch line. There’s an interesting father-son clash, with the father having to hire the older son’s services to save the younger one.
These parts are there in the malayalam original
There’s a funny action scene whose lines are inscribed on Surya’s torso. And there are at least two well-choreographed action sequences, the first a parkour-styled chase through high and low, and the second, a series of surreptitious moves by the sons to save their father.
These scenes are not there but are done in a different context, you know the budgetary constraints of regional cinema. Pokkiri raja is made for 10% of the budget of BOSS.Obviously they cant afford the finesse and extravagance in shooting action scenes.
One special mention, Shriya saran was the heroine of PR and contrary to her all out skin show in other languages , in this film she is most demurely attired and the entire focus is on her eyes and she doesnt have any bikini scenes which seemed to be your biggest problem with aditi rao hyderi(ha ha)
LikeLike
ram
October 22, 2013
thanks for the clarification!
LikeLike
MANK
October 23, 2013
Fussy acting meaning… (among other things) doing showy things with hands and gestures and body
BR:I fail to understand this extreme hostility to meryl streep. I have seen almost all her films and i must tell you i don’t think there is a greater actress before or since her. About doing showy things with hands and gestures and body,well isn’t that what acting is about.Do you expect the actor to convey everything through dialogue or what. Your assessment stands in absolute contradiction to Pauleen kael’s bitchy remarks about her being a ‘Neck up actress’, which means she does everything with her face or her accent.If you had mentioned at least her constant usage of exotic accents or different looks in film to film i would have understood.Any way i don’t think that her hand\body gestures are anyway showy and are done subtly keeping within the context of the character she is playing. Actually the most showy and fussy actors based on your definition are your idols Jack Nicholson and Al Pacino.
LikeLike
Madan
October 27, 2013
I am not going to comment on one’s views either which way about Meryl Streep. But I just want to say that after watching Iron Lady and later watching actual broadcast of Margaret Thatcher giving speeches or interviews, I was struck by how well Streep had captured her tone and delivery. There were differences, of course, but on the surface it was possible at times to mix up one with the other. In other words, the antithesis of fussy acting.
LikeLike