Spoilers ahead…
Bajrangi Bhaijaan surprised me in a lot of ways. For one, the flavour of masala here isn’t the flavour we usually associate with a Salman Khan movie. This isn’t outlandish – though that, when done well, can be worthwhile too. There’s a sense of sobriety here. The director is Kabir Khan. To say that this is the best work of his career isn’t saying much, considering his resume includes New York and Ek Tha Tiger. I’m inclined to think the writer KV Vijayendra Prasad – father of current national sensation, SS Rajamouli – has a lot to do with it. (There are traces of the Telugu hit Vikramarkudu, which Prasad co-wrote.) The genre is treated with respect, not just as an opportunity for a few winks – and the approach isn’t defensive, where you can practically hear the director say “I know this isn’t logical, but…” Even when we get the obligatory shirtless scene with this star, it’s in context – he’s being tortured by the police, he would be shirtless.
The story is about Hanuman-devotee Pawan (Salman Khan), who runs into a little girl (Harshaali Malhotra, just cute enough, and more than expressive enough) who cannot speak. He names her Munni. He discovers she’s from Pakistan, and he decides to take her back. Given the peaks-and-valleys nature of the passions between the two nations, this is a strong one-liner – a sort of reversal of Henna, where a Pakistani woman took it upon herself to help a lost, amnesiac Indian get back home. (This is probably pure coincidence, but there’s a character here named Chand, which was what the Rishi Kapoor character was called in Henna.) And the story is made stronger by the detailing. Consider the scene where Munni, who has come with her mother to Nizamuddin Dargah in Delhi, is left behind. The train to Pakistan makes a stop. Munni looks out of the window and sees a lamb. Her mother is asleep. Munni steps out and begins to play with the lamb, and she doesn’t notice the train is beginning to depart. It sounds flimsy – an excuse to strand Munni and get the story going. But earlier, we’ve been shown that Munni’s father is a shepherd. It’s only natural she’d be drawn to the lamb. The film would work even without this knowledge, but now we see the care with which it has been made.
Bajrangi Bhaijaan is filled with bits like this. When Munni, at a police station, picks up a pair of handcuffs and slips them over a wrist, it isn’t just a cute moment – it points to her fascination with bangles, which comes up again, and it also prefigures an important scene with another pair of handcuffs. When Munni’s mother sighs that she wishes Munni could speak and go to school like other children, it isn’t just a sentimental moment – it tells us that Munni is unlettered, which is necessary to sustain this film’s conceit. (If she could read and write, there’s no story.) Even the action scenes aren’t just there so that Bhai fans can explode in orgasm. The first one comes about when Pawan hands Munni to someone who says he’ll take her to Pakistan and takes her elsewhere. This is where the film’s tone changes, because this is when Pawan realises that he’ll have to do the job himself. And the second action scene comes about when a Pakistani policeman manhandles Munni. This isn’t about servicing the star. This is about servicing the story. The story is about the little girl, and hence the action scenes are written around her too.
The mythical undertones are another surprise. Masala movies have always been built on layers of myth – the super-caring son from the Ramayana, the mischievous but good-hearted flirt from the Mahabharata, and so forth – but Bajrangi Bhaijaan does something that most modern-day masala movies don’t: it makes these references explicit, the way the movies from the 1970s and 80s did. After Munni (whose real name is Shahida) is lost, someone from her family says something like, “Koi to khuda ka banda hoga Hindustan mein jo hamari Shahida ka khayal rakhega” – and next thing we know, we meet Pawan, the khuda ka banda they were praying for. And he’s singing and dancing around a giant statue of Hanuman when Munni finds him, the man who’ll carry her back home – literally, in a sense, the way Hanuman carried the mountain. And where does this first meeting occur? In… Kurukshetra. I wonder if the scene where Munni’s mother is pregnant with her and feels a kick when Shahid Afridi hits a six is an echo of Abhimanyu in the womb – only, this time, the “war” is between India and Pakistan. (And between their cricket teams; an Indo-Pak series is a running motif.) Later, Pawan’s fiancée Rasika (Kareena Kapoor, burnishing a trivial role with star power) gives him advice based on the Mahabharata.
The great twist in Bajrangi Bhaijaan is in how it renounces the masala formula of good-versus-evil, especially given its incendiary plot built around hostile neighbours. This is no Gadar, and the Pakistanis are not the Enemy. One of them is Chand Nawab (Nawazuddin Siddiqui), a reporter who helps Pawan. Just how good is this actor! He can be subtle. He can be loud. He can play serious. He can play the fool. He can sell punch lines with the best of them. (Just wait till you hear him address Pawan as “Begum.”) Chand is a journalist and he’s trying to sell the Pawan-Munni story to Pakistani television channels, but no one is interested. He tells Pawan, wryly, that it’s easier to sell hate than love. That’s what Anil Sharma did, with Gadar. Kabir Khan, on the other hand, chooses love. There are Rajkumar Hirani levels of goodness in this movie. (And a bit of his sly satire too. When Pawan says Hanuman will help him, Chand asks, “In Pakistan too?”)
The film is so good-natured that there are no conflict points. When Rasika tells her father (Sharat Saxena) she wants to marry Pawan, the issue is resolved instantly, without thunder, without lightning. Even after Pawan ends up in Pakistan, there’s very little about the hunt for him by the army/police top brass, accompanied by a jangling score that alerts us to the danger. The music, most of the time, is light, jaunty – the emphasis is on the goodness in both nations, the sameness between them. (In a way, Bajrangi Bhaijaan is a more masala version of Filmistan.) Rasika’s bigoted father may throw a fit about sheltering Munni – he’s found out she’s “Mohammedan” (wouldn’t these people say “Musalmaan”?) – but he doesn’t throw her out. There’s still some innate goodness in him, under all those calcified layers of custom and culture.
The film keeps switching between Hindu and Muslim, the sense of India and Pakistan. If there’s a scene at a dargah, it’s balanced by one in a temple. Both nations are shown to be similar, filled with wrestlers and monkeys and buses with the most congenial passengers. Even Munni’s reunion with her parents is a joint Indo-Pak Hindu-Muslim venture, accomplished by Pawan and Chand. (And note how particularly connotative of their religions these two names are.) Munni wears a Hanuman pendant, while Pawan slips into a burqa. Pawan learns to do a salaam, and Munni is shown folding her hands in a namaste. The only sour note is that Muslims are shown saying “Jai Shri Ram,” without a reciprocal vocal gesture from Hindus. In an Anil Sharma movie, we wouldn’t dwell on this. Here, given the equitable nature of everything else, we do.
The only major complaint I had with Bajrangi Bhaijaan is its pace. While it’s nice to see a film unfold, without frenzied cuts, you wish, sometimes, that they’d get on with it. And yet, this is a very focused movie. Despite its languorous rhythms, it doesn’t ramble. The Pawan-Rasika romance is quickly (and convincingly) dealt with, so that we can return to Pawan and Munni. And I liked the Indianness of this movie. Most masala movies manage to sustain the illusion only when rooted in India, the way Dabangg was. Fly away to a foreign location for a dream song, and the mood is gone. The one time we see Switzerland here is, again, in context. The only parts that yanked me out of this almost timeless narrative were the ones that make it feel contemporary – a protest outside the Pakistani embassy by saffroners, the line “Kashmir thoda sa hamaare paas bhi hai,” all the talk of visas and passports, the clichéd portrayals of the media. With the latter, why not go Hirani all the way and show the media as “good” too?
Speaking of Hirani brings to mind his long association with Sanjay Dutt, his deep-rooted belief (evident from his interviews) that Dutt is a good man. There’s a lot of that in Bajrangi Bhaijaan too, which has at its centre another star plagued by legal troubles. (I was startled when the titles showed someone credited as “Salman Khan Films – Legal Counsel.” It took me a second to realise that this was probably the person who handled the legal affairs related to the movie.) If the film is about Pawan being a good man, the meta-film is about Salman Khan being a good man. Every action is calculated to make us think that this man just couldn’t have done the things he’s supposed to have done. Pawan is innocent, aka Salman Khan is innocent. Pawan is not very smart, aka Salman Khan does not have the smarts to manufacture false evidence, et cetera. Pawan’s father was in the RSS but he chose to stay away, aka Salman Khan is not interested in political games. Pawan is religious, aka Salman Khan is god-fearing, and a god-fearing man wouldn’t, you know… Pawan is so righteous, he asks the Pakistan Army patrollers at the border permission to enter their country, even though he’s sneaked in through a tunnel, aka Salman Khan would never do something against the law. At one point, newspapers carry this headline after Pawan is captured: Maseeha ya jasoos? Is Salman Khan guilty or innocent? The film ends with a mass movement to save Salman… uh, Pawan. Rarely have truth and fiction rubbed so uneasily against each other.
But as an actor, Salman Khan puts up one of his more convincing performances – though this is really a writer’s film, a director’s film. I’ve talked about Hirani, but fans of masala cinema will also find echoes of Manmohan Desai. It’s all here – the child separated from parents, the coincidental meeting with the mother at a place of worship, the qawwali (Adnan Sami does the honours) and the rewards of prayer, the “good Muslim” character (Om Puri is just wonderful), and, above all, the miracle at the end. I wonder what today’s younger, cynical audiences will make of all this, because this cinema is from a more innocent India – but older viewers are likely to find their eyes going moist at scenes such as the one where Pawan enters a mosque near his home, looking for Munni. The scene is funny, but the subtext isn’t – here, she is at home, and he is in an alien land. It’s been a while since corn has been sold with such conviction.
KEY:
- “Koi to khuda ka banda hoga Hindustan mein jo hamari Shahida ka khayal rakhega” = Some man of god will take care of our Shahida in India.
- Filmistan = see here
- Dargah = see here
- “Kashmir thoda sa hamaare paas bhi hai” = A bit of Kashmir is with us too.
- Maseeha ya jasoos? = saviour or spy?
- qawwali = see here
Copyright ©2015 Baradwaj Rangan. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Vasisht Das
July 19, 2015
‘Conviction Corn’?!
let me have one of that with my ‘Fresh & Honest’ coffee.
btw, here is the original tragicomic hero Chand Nawab who obviously has inspired nawazuddin’s character here (i challenge you to keep a straight face while watching this) –
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Sami Qahar
July 19, 2015
Didn’t know the relationship between rajmouli and vijayendra prasad. Good to know.
Back to the review… I can’t figure out whether you liked the film or not. I did. The first one since dabangg.
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* (@OnlyReplyHandle)
July 19, 2015
Don’t you think Salman Khan has always played over the top good characters. He has refused many movies involving negative roles like Baazigar,Darr etc. Also,he has never done any kissing/obscene scene in any movie. Moreover, his crime is an unintentional crime and nothing would change ever after PR. Had he done fraud/Murder(intentional) etc he would have required PR.
Even I am quite inspired by his on-screen character “Prem” in real life.
Agree to everything else, but I like Salman since long back so just commenting on the PR part.
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MANK
July 19, 2015
Brangan, this had to happen – if law of averages is anything to go by – someone’s bound to make a good masala film with salman, after all the money gobbling Turkeys he has been dishing out recently. This to me is the best hindi masala film since dabbang. actually salman in this film reminded me of salman of his beginning – Maine pyar kiya,karan Arjun, HAHK you know, before the wanted phase and also how generous and non narcissistic he is in the film- allowing nawazuddin and the little girl steal all the best scenes in the film.
The only problem I had is with the wanton propaganda about salman’s real life innocence of any crime. It almost seems designed to come out exactly at this time to suit his public image. Also I thought the climax went straight for the heart strings determined to bring out people’s handkerchiefs. A little bit of restraint would have been fine.
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Chanakya
July 19, 2015
I’m not a Salman fan, but one has to appreciate the man for taking that small step to bridge the great divide between these two countries in the only way that he knows. I wish more stars and film makers had done that. Apparently Hindi films are the only effective way to communicate our feelings to our neighbors.
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rahulandrd
July 19, 2015
Why do you call this movie a masala film? because Salman Khan?
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Utkal
July 19, 2015
rahulandrd: I agree with yor objection. This film runs counter what is generally understood as a msala flm ( a film that is a pot pourri of all elemnts – romnace, action, comedy, fights, dances etc,). This film stays on course for the most part, servicing its single-track story. No villian. No fights. No romatuc duets. No sub-plots. No item numbers. No extarneous comedy trcak. This is rather austere story-telling rather than masala….unless we define masala as something else.
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Supertramp
July 19, 2015
Most likely not going to watch this one in theater, but plot reminds me of Asvin Kumar’s Academy Award nominated lovely short film ” Little Terrorist”
http://www.dailymotion.com/video/x23ub28_little-terrorist-2004-short-film-xvid-mp3-esubs-phantom_shortfilms ( Can’t find the Youtube Link)
Bajrangi Bhaijaan belongs to a different universe anyway.
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Utkal
July 19, 2015
And I think this film has nothing in common in Manmohan Desai’s films. The common elements you have mentined are present in the films of a host of other directors in totally diffferent lanes from that of Desai. Just to take one example, the quawali here is used totally differently than in a Desai film. It is closer to the quawali in a film like Fiza ( Piya Hazi ali) or Delhi 6 ( Arziyan).
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rnjbond
July 19, 2015
Really an overall fantastic film – I wish Kabir Khan had this vision with Ek Tha Tiger.
I really appreciate the restraint throughout (although the ending was a bit too much) and all the performances were great. It’s great to see Salman Khan play a “nice” character, instead of someone who’s just too cool for us.
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Amit Upadhyaya
July 20, 2015
The Mohammedan bit in the film is spot on. When North Indians want to refer the community in a not-nice way, they don’t say Mussalman but this.
But yeah, they got the pronunciation wrong. The word comes out like ‘Momden’. It’s a lot like the word ‘desktop’ which some people pronounce as ‘dekstop’.
As for the film, felt the first half was unbearable. The second half though was a complete different film thanks to Nawaazuddin. So much so that all the ‘messages’ were also couriered through him. Bhai was just ornamental. Which I think is Kabir Khan’s smartest idea in the film. Much better than the derived screenplay.
But I must ask you, don’t you think that for a filmmaker who has made documentaries for a long time, Kabir Khan has very little visual flourish? Even in terms of aesthetics, a lot of choices come out so ordinary.
It’s not a bad film even if a naive one. But it certainly leaves a lot to be desired even within the confines of mainstream filmmaking.
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S.P
July 20, 2015
BR – Did you come across an opinion piece by Shobhaa De on Bajrangi Bhaijaan? Its really interesting she also says ” So long as viewers don’t dodge the real message of BB – and it’s not the obvious Indo-Pak bhai-bhai one – the implausible story becomes more palatable. It certainly appears as if the entire team carefully picked a theme that would project Salman Khan as a larger-than-life do-gooder, incapable of telling an untruth, or hurting a fly (unless that fly comes in the way – as in the fight sequence at the brothel). At this point, I said to myself, maybe a special screening can be held for cops and judges dealing with the ongoing, emotionally-charged hit-and-run case. Why not go the whole hog?”
http://www.ndtv.com/opinion/bajrangi-bhaijaan-will-the-real-salman-please-stand-up-782757
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Santosh Kumar T K
July 20, 2015
ayya Rangan garu, a while ago I had said this
“Any art (books, drama, theatre, cinema, music) should aspire to create their own worlds. The artists should be honest about their intent and craft so that the audiences do not hesitate entering these worlds for however brief periods. Much as they are inspired by, and try to incorporate real life contemporary scenarios, examples, instances, they should refrain from extensive referencing (both self and external), and name calling.
When this intent is clear, the critics should respect the effort, and judge the work for what it is, and what it sets out to do. The work should be accorded an existence independent of peers, and examples.”
here: http://madness-of-madras.tumblr.com/post/101702485063/meet-midway
what do you think? (i am referring to the “dutt : hirani :: khan : khan” here)
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Ravi K
July 20, 2015
OnlyReplyHandle wrote: “Moreover, his crime is an unintentional crime and nothing would change ever after PR. Had he done fraud/Murder(intentional) etc he would have required PR.”
Salman made the choice to drive drunk. He made the choice to drive in a state that was potentially a danger to others and to himself. That is in no way “unintentional.” Let’s not keep making excuses for his bad choices that killed an innocent person.
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Utkal
July 20, 2015
Ravi K: Making a bad choice and committing an act to intentionally harm someone are two different things. A policeman in Delhi mowed down 3 innocent people because he was driving while sleepy. A woman legal / financial consutant killed two/ three people while driving drunk. We do not think of these people as villains.
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rothrocks
July 20, 2015
Actually I do regard Janhavi Gadkar as some kind of fiend of humanity, absent evidence to the contrary. I am sure she didn’t intend to bump off somebody through drunk driving but by increasing the odds of that happening so greatly, she demonstrated total callousness as well as utter indifference towards the safety, indeed the very life, of other travellers using the road. If she had cared one bit about the consequences of her actions she wouldn’t have taken the wheel after getting heavily drunk. She reminds me of a young, rich brat character from Agatha Christie’s Ten Little Indians who gets away with hit and run but is poisoned to death by the avenging angel. Truth is indeed stranger than fiction.
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praneshp
July 20, 2015
Utkal: Did you mean to add a “I’m being sarcastic” tag to your comment?
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TheGhostWhoWallks
July 20, 2015
@Utkal,
A woman legal / financial consutant killed two/ three people while driving drunk. We do not think of these people as villains.
uhmm.. i dont think anyone said about any thing about him (or the examples you listed) being a villain. I think the term might not be appropriate, since it suggests there was a motive behind it as well.. However, while motive is absent, it is replaced by an even more ‘evil’ (for lack of a better word) drunk-on-power arrogance..
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Raghav
July 20, 2015
Digression Alert: Guys,has anyone seen the trailer of ‘Manjhi’ starring Nawazuddin Siddiqui.He really is breaking a few mountains in Bollywood!
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Utkal
July 20, 2015
I found it not good as I expected it to be. It is also not as bad as I thought it was after sitting through it restlessly till the interval. In the last thirty minutes or so the film shifts into the right gear and becomes a tolerable viewing and the climax does give manage to give you a high.
But much of the film was an effort for me to sit through. The first half is very casually done with no care or conviction. Every scene is predictable and some are so ham-handed they make you cringe. I entered the hall ten minutes late when the little girl was being left behind and the reaction of the old Pakistani was the kind of over-the-top sentimentality that is so hard to swallow. The romance between Pavan and Rasika is staged equally perfunctorily as if it was something the director had to get past somehow. The scene where she reprimands him on seeing him at her place, “Tum mere pichha karte yahan bhi aa gaye’ was so lame as was the scene where she comes down holding his hand saying she sees her father in him. Kabir Khan’s attempt at social satire lacks the lightness of touch. The lines about she being a Brahmin because she is gori and a Kshatriya because she is gori and eats meat sounds contrived coming froma simpleton like Pavan. The brothel episode is another paint-by-number narrative involving a little girl. NH 10 was so refreshing because the director did not fall into the trap of showing something predictable like some one sexually assaulting Anushka in the macholand of Gurgaon. Kabir Khan is not sophisticated enough. He goes through all the tried and tested, and tiresome, bullet points, including one about the father telling him he better get a house within six moths if he wants marry his daughter and later they using the money saved for the house for taking back Muni to Pakistan.
The talk of religious amity is also along expected lines, and the presence of a few good Pakistanis in every strata which is revealed after an initial anti-Indianism is once again another predictable and boring template. If the build up romance of Pavan and Rasika was unconvincing and bloodless so is her reaction when he is stuck in Pakistan. She and her family just seem to be going through the motion, especially when she is ‘ otherwise I too will go to Pakistan without a visa,’
But the film does get into its stride once the cat and mouse chase between the Pakistani authorities and the trio of Pavan-Chand Naawb-Munni/ Shahida. The jokes that were falling flat begin to work when Nwaz delivers the lines, be it when he is telling Salman to be the one to wear the burkha or telling the policeman about their marriage through elopement. Kabir Khan is also good at narrating the intrigues and the ploys used in the cat and mouse game. I liked the film from the dargha scene onwards because of the smooth narration from then on. The little tricks like Shahida recognizing her mother from the video and before that recognizing her homeland from a calendar photo of Switzerand are simple but they work nicely.
Also what works is the character of Pavan inspite of all its exaggeration and Munni/Shahida with her innocence as well as liveliness. I liked the gusto with which she wants to attack her chicken leg. (But I found the rattling of chicken Afganai, chicken Lahori, etc unfunny.) The performances of the lead trio also smoothens a lot of rough edges and makes the film at least watchable. And the climax comes to life and hits its melodramatic crescendo with Shahida getting to strike the final high note.
Much of the film is ham-handed, lacking in finesse or freshness and overall is quite forgettable. Yes. But I must confess I left the hall with a smile on my lips and generally appreciative of the effort.
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Utkal
July 20, 2015
TheGhostWhoWal: Do you know how many drivers in India on a given day are driving drunk or are overspeeding (the major cause of death due to road accidents.) ? They are all as ‘ evil’ as Salman Khan is my short point and as long as we remember that, I am okay.
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Qalandar
July 20, 2015
Great piece here — although I haven’t seen the movie yet. On the “Mohammedan” point, I actually feel that the word survives primarily among “old school” folks and people outside the English-speaking classes (for instance I have met more than one shopkeeper during my travels in India asking me if I am a “Mohammedan”; they aren’t trying to be offensive, it’s the word that comes naturally to them; my driver in Bombay alternates between “Mohammedan” and “Muslim”, but won’t generally use “mussalman” even if everything else he is saying is Hindi…
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The Ghost Who Walks
July 20, 2015
@Utkal,
Oh absolutely. But the other offenders you mentioned certainly don’t get this much of mass adulation or limelight, so it is only natural that Salman Khan will be pilloried more in public space.
@Qalandar
The instances that I have heard the term Mohammadans, it was used in a startlingly derisive way. I always thought it was a term meant to be offensive. Would be good to get some informed viewpoints on this.
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Anuj
July 21, 2015
This was bound to happen. A Salman fanatic once told me that if an actor can churn mega blockbusters out of nonsense and bogus movies like bodyguard and ek tha tiger, imagine what he would do if he actually gets a good script! Here it is. Bajrangi Bhaijaan proves why despite his turmoil and questionable personal life, Salman was,is and will remain the most popular actor on Indian celluloid since the life & times of Amitabh Bachchan. Yes Aamir and Srk are superstars and yes they’ve broken records too. Yes Akshay is a hit machine, yes Hrithik’s given huge hits as well. But the difference between a Salman & them is that they can never give a blockbuster with a Bodyguard but a Salman can. In all likelihood, Bajrangi Bhaijaan would do similar business to PK. Now imagine if Salman gets to work with Rajkumar Hirani two times over!
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Utkal
July 21, 2015
Whatever may be the final collection figures of Bajrangi Bhaijaan, whether it breaks any record or not, it has achieved many things for Salman for which he should be happy and proud.
It will make him take his acting more seriously, resulting in even better performances.
He has laid to rest the commonly-held belief that Salman can work in a masala potboiler. What is the premise of BB/The hero a Hanuman-bhakt taking back home a mute Pakistani girl lst in India. It is not a typical Hindi film storyline. Yet he has made it work and the film should earn above 250 cr, which is certainly an achievement.
If it earns above 250 cr, which will be more than Kick, it will make his producers come to him with better stories, knowing that they can earn more than ghisa-pita stuff like Jai Ho or Dabangg2.
It will make his future projects like Sultan and PTDP more looked forward to and more acceptable
It will enhance his stature overseas, helping him garner better collections for his upcoming films.
The imdb rating of 8.4 as of now will dispel the notion that Salman films are not ‘prestige films.
http://www.imdb.com/title/tt3863552/?ref_=nv_sr_1
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Vishal
July 21, 2015
I thought the movie has an interesting parallel with Subhash Ghai’s Khalnayak, which came around the time when Sanjay Dutt was going through a legal battle similar to Salman’s current predicament.
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MANK
July 21, 2015
Anuj, 1+1 doesn’t necessary equals 2 in the case of films. So the salman hirani combo ,eventhough a beautiful utopia but isn’t all that practical IMO. Both of them have extremely different sensibilities and working habits. Salman, for all his lionized real life goodness is not the easiest of actors to work with and you are forgetting the mad maverick vidhu vinod chopra who is a strong creative producer. It really requires a cool headed and mature actor like aamir to get along with them
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Anantha Krishnan
July 21, 2015
Well entertaining movie with superb performances from that kid and Nawazuddin Siddiqui… salman and kareena were decent too… but I had some problems with the ending… wasn’t it overdone? the child regaining voice nd all… a simpler climax could have been given a better result IMO
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MANK
July 21, 2015
Utkal, I don’t think salman is bothered at all for attaining any class or respectability. All these ghisa pita films are something he has done by choice and that’s where his taste lies. He has a regular clique of producer/directors consisting of friends and family members with whom he is comfortable working and who are comfortable working with him. So I don’t think there will be an immediate change in the quality of films or directors in his case. Then of course he has his criminal cases to contend with. For whatever is worth it, he is a convicted criminal condemned for 5 years imprisonment. There is a limit to which the big filmmakers are willing to risk their careers on him.
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venkatesh
July 21, 2015
@Utkal : A sincere question:
Can i smoke what you are smoking ?
It must be some powerful stuff, i dont find any other way of explaining how you come up with this.
“It will enhance his stature overseas, helping him garner better collections for his upcoming films….. The imdb rating of 8.4 as of now will dispel the notion that Salman films are not ‘prestige films”
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Hithesh Devasya
July 21, 2015
Oh, we still take IMDB ratings seriously.
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brangan
July 22, 2015
rahulandrd / Utkal: About the “masala” question, the genre comes in many flavours — but for me, the main thing is that there’s a larger-than-life (near-mythical) sensibility. A story that wouldn’t happen in real life, at least the way it’s portrayed on screen. Along with stock elements like romantic duet, fight, comedy, coincidences, the religious song leading to a miracle, the Hindu-Muslim bhai-bhai stuff, etc. These elements may not be glaring/overt (as in Dabangg), but they’re very much all there.
About Desai, I don’t think we should be so literal. Other filmmakers may have used these tropes too, but taken together, they came to define Desai’s cinema. And the “miracle” (AAA, Mard) clinches it for me.
Amit Upadhyaya / Qalandar: Thanks for the clarification about the Mohammedan bit.
OnlyReplyHandle: For me, the crime isn’t driving drunk. That’s a mistake, a human misstep, the equivalent of a crime of passion. To me, the real “crime” is covering it up, making one’s driver the scapegoat etc. Had Salman surrendered, then I doubt anyone would be calling him a criminal.
PS: People give a crap about IMDb ratings? Knowing the levels of fanaticism there? Surprised.
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Anuj
July 22, 2015
Kabir Khan enters Raju Hirani zone with a naive and over simplified take on a complex socio-political issue. Bajrangi Bhaijaan is like an Aamir Khan movie with Salman Khan in the lead. Read my review on
http://thesimplemoviereviewer.blogspot.in/
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Anuj
July 23, 2015
The word of mouth is very similar to what it was for PK and so are the collections. It would be a touch and go scenario as to whether it can overhaul PK’s tally of 330 cr or fall short by a whisker. In all probability though, BB will indeed cross 300 cr and be declared a certified All Time Hit. Although I still believe that in the modern multiplex era, 3 Idiots continues to remain the biggest blockbuster over the last decade with the best word of mouth among the 3. Either ways, this just goes on to show the kind of box office dominance Salman and Aamir have had over the last half a dozen years (of course Salman owned the early 90’s too). SRK for all his global brand building has never been able to replicate the numbers generated by Salman and Aamir over the last 8 years due to his poor selection of films and failure to re-invent himself (unlike AK), Hrithik on the other hand had a fabulous first 6 years of stardom but his strange obsession with style & ‘Hollywood’ised’ movies of late has dented his popularity among the masses to an extent (a clear case of hitting peak popularity and stagnating thereafter). Perhaps he needs to get back to his roots by doing a few ‘indian’sed’ mass entertainers like KNPH in order to regain the lost faith of the masses. Akshay has never been in the same league as these 4 anyway, although he has done well after being completely written off during the late 90’s.
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Botched Plan B
July 23, 2015
Reblogged this on Botchedplanb's Blog and commented:
Bhaijaan is a hit with the masses and the critics. Read the review for this movie that eerily mirrors the life of the Khan without a plan by one of the most celebrated film critics in India, Bharadwaj Rangan.
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Mohit
July 24, 2015
Ah, trust you to come up with observations such as the ones about Chand – Henna and the connotation of the name! BTW, Chand Nawab – the name, his intro scene, even the cameraman’s name – was inspired by this hilarious real-life reporter
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Qalandar
July 25, 2015
My review: http://qalandari.blogspot.in/2015/07/bajrangi-bhaijaan-hindi-2015.html
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SANTOSH
July 26, 2015
EY BHAI KI PHILLUM KO KUCH NAHI BOLNEKA…..BHAI TOH BHAI HAI……….BHAI KI PHILLUM SAMAJH MEIN NAHI AATI….BHAI TOH BHAI HAI…..BHAI KO ACTING NAHI AATI….BHAI TOH BHAI HAI……ACTING CHAAHIYE TOH MANJHI DEKH……….BHAI TOH BHAI HAI…….BHAI KE FANS KO YEHICH MANGTA HAI………..BAS DUAON MEIN YAAD RAKHNA!!!!!!!!!!!!!
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Rahul
July 28, 2015
Since imdb is being shat upon, I feel compelled to put forth my 2 cents, since I have been using it for many years. Like any other tool, you should know how to make best use of it.
Some rules of thumb that have worked well for me-
Ignore imdb for the movies released in the last few years (a year or two). Fanboyism is at its peak and that skewes ratings.
Ignore imdb for all non English films that do not have an internationally renowned artist. If I need to qualify this further, that is an artist who is known and appreciated by audiences all over the world of all nationalities and ethnicities, and it doesn’t matter if he or she is artsy or commercial. Garcia Bernal and Wong Kar wai are international stars, and so is Jacky Chan. Salman Khan is not.
3.Ignore imdb for non English films that have not had a world wide sub titled release.
Imdb is not the gospel for top 250 movies of all time, or for any other list. The Shawshank Redemption (1994) is at the top. Enough said.
Notwithstanding points 1, 2 and 3, the movies that have a 7 + score are watchable, and those that have a 8 + score are eminently watchable.
There will always be exceptions. Two of my favorite Mcconaissance movies, Paperboy and Killer Joe are below 7 on imdb. One has to trust their gut feeling, favorite reviewer and favorite artists\directors while making up their mind.
If I need to reiterate, these work for me. Not to be taken as a universal prescription.
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Arun
July 28, 2015
@ Rahul, Imdb is a good tool apart from Metacritic. it is around 50 to 55 percent correct ratings. For movies like Kahaani, Bajrangi Bhaijaan (may be 7 perhaps could be there) and most of Kamal Hassan’s critically acclaimed films like Mahanadi and Guna having high ratings. Heck, Papanasam has over 8 rating. So it is mostly correct. Engeyum Eppodhum has over 8 rating. Even for average hindi films like guddu rangeela, the rating is on the mark. For Himmatwala, we have 1.8 star rating, Salman’s Bodyguard has 4.4 rating. Kick is also lesser at 5.6 (cannot understand why because in my opinion it deserves 6).
where Imdb slips most is with English films only-Bulletproof Monk (one of the worst films I ever watched) has a 5.4 rating. Rotten tomatoes has 34 for that.
Riddick was a strictly mediocre movie. It has a rating of over 6 in imdb. Again flawed. So the fanboy thing and exaggerated rating is more for English films.
The beauty of imdb is it allows for individual objective reviews. For example, Aaranya Kandam has over 8 rating, but in user reviews page, we have rating of 3 for the same film. As BR once said, reviews are objective and mostly based on perceptions, mood on that particular day. I somewhat agree to some extent to his statement.
I simply cannot understand why people mock Imdb so much. Agree it is not completely perfect. Even RT is not perfect by the way.
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Arun
July 28, 2015
What Bajrangi Bhaijaan has done to me is show a promising talent in Kabir Khan and made me look forward to his upcoming movies like Phantom. I must say he has a strange obsession with India- Pakistan relationships (Ek Tha Tiger, Bajrangi bhaijaan and Phantom).
And Phantom (going by the looks of the trailer) is the most nationalistic film we could ever see in celluloid. It is a fictional take on 26/11 attacks and its aftermath. Sure it is going to silence his detractors that KK is pro-Pakistan once and for all.
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Ravi K
July 28, 2015
Utkal wrote: “Making a bad choice and committing an act to intentionally harm someone are two different things. A policeman in Delhi mowed down 3 innocent people because he was driving while sleepy. A woman legal / financial consutant killed two/ three people while driving drunk. We do not think of these people as villains.”
The difference is that you make yourself drunk, whereas sometimes people don’t realize they are too sleepy to drive, after a long day of work or whatever.
I don’t have much sympathy for people who get caught driving drunk. It’s one thing if you get into an accident due to inattention or something. But getting behind the wheel in an inebriated state is not merely a bad choice or an accident. It’s utterly irresponsible. Even without the cover-up it’s pretty bad. Killing someone in a drunk driving accident is not as bad as intentionally murdering them, but it’s definitely worse than accidentally killing them when you didn’t really do anything wrong.
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Upnworld
July 3, 2016
Mr.Rangan, I would highly appreciate your answer to my humble question. You have composed this review with a great deal of psychological acuity, as you usually do.But does the same level of fine reasoning disturb your mind to the extent of considering not watching his movies after what his real-life courtroom and escapist antics. I also note in the comments section that you responded – quote ‘ To me, the real “crime” is covering it up’ unquote. I blithely watched his ‘Ek Tha Tiger’ but after that my conscience does not allow me to watch and review his movies anymore despite my curiosity, because of the hypocrisy inherent in this “onscreen hero vs off-screen coward” reality. So have we reached a stage now where we have reconciled to the situation of a movie reviewer saying “I’m just doing my job” because diligently reviewing each movie is more important than considering the moral trickery these heroes indulge in? The counter-argument will be – “many heroes are no angels either, so how many more movies should I forego?” – yes ,but that still does not exonerate Salman. This is not about Muslim-hating or singling out Salman – I liked him a lot in HDDCS. Salman himself would be smirking that public and critics still come to watch his movie after offering all sorts of excuses for why they need to do so. Awaiting your reply…Tc
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brangan
July 3, 2016
Upnworld: I do think it is sometimes possible to separate the on-screen work from the off-screen person.
The review above is my take on on-screen Salman. This piece below is about the off-screen Salman. The tones are very different, just as the on-screen and off-screen persona are different.
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tonks
July 11, 2016
Only could watch this yesterday. I loved it, there was so much heart in the story, it made me misty eyed. And such convincing acting that sort of makes you feel that this ultra nice guy surely didn’t really mean to do all the nasty things he has been accused of doing in real life. The ending was way over the top, though.
Excellent review, burnishing a trivial role with star power is such an apt description of Kareena’s performance. Her costumes were gorgeous, too.
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kazcha
October 21, 2022
just occurred to me that the malayalam film kazcha had a similar story line to this movie.
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kazcha
October 21, 2022
just occurred to me that the malayalam film kazcha had a similar story line to this movie. And I think kazcha was released before this movie.
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