Spoilers ahead…
The “Smoking Kills” warning has rarely looked as ridiculous as in Ashim Ahluwalia’s Daddy, where nary a soul is lost to cancer. A minister is shot through the head, and his brains become splatter art on his dining table. Someone else lies sprawled in the open, as his corpse is nibbled at by street dogs. A third is riddled with bullet holes as he descends in an elevator. A close pal of the leading man — Arun Gawli, aka the Daddy (Arjun Rampal) of Dagdi chawl — is shot down at point-blank range by cops. In a film that strives for such realism, they should have at least modified the warning: “Being cast in a Mafia movie kills.”
Daddy is a “Mafia movie” in the most generic sense. We get a sense of Gawli’s life through a framing device where a cop on his tail (Nishikant Kamath, who beautifully underplays the desperation behind his quest) conducts a series of conversations with people associated with the gangster, beginning with Daddy’s mummy. The story that emerges (rags to riches, friends to foes, a love angle stuck in between) is no different from that of the many gangster sagas we’ve seen. Put another way, we never get a satisfying answer to the question: Why does this gangster deserve a movie of his own?
Other than, of course, an actor wanting to deglam himself for a role he’ll be remembered by. As anyone who tracks the Oscars will tell you, nothing says “great performance” as much as a good-looking performer stripping himself of his good looks. Does it work? Rampal tries to coarsen himself up, with makeup and slang, but his lanky elegance never really goes away. Still, there are hints of a performance. When asked to stand in a line-up, I caught a glint of fear in Rampal’s eyes. Much later, his face — for the most part, a grim mask — softens when he sees his newborn daughter. The rest of the time, it’s hard to say if Rampal is brooding or non-acting.
But at least, we don’t burst out laughing the way we do when we set eyes on Farhan Akhtar, who plays the Dawood-equivalent, Maqsood. This Rock On! reunion is terribly distracting. In that film, Akhtar and Rampal smoothed over their frictions with a blistering performance of Sinbad the Sailor. When a similar clash occurs midway through this film, you half-await another reconciliatory climax in an arena, as our boys launch into Gawli the Gangster.
The minor characters show more promise, but they, too, are underserved by the script. I was particularly taken by a very young bride, who spends her wedding waiting for her husband to show up. (He’s elsewhere, having sex.) The young girl looks so lost, so much of a lamb in the midst of wolves, you want to know what happened, how she ended up here. At least, she gets a couple of scenes. Someone who ends up shot (we don’t even see his face) gets only a caption: “Giridhar Tyagi, Hawala Agent.” In case we mistook him for Giridhar Tyagi, Tap Dancer, I suppose.
Could they have gotten past the gangster clichés by focusing on the love story? The secular side of Gawli emerges when he marries Zubeida with no talk of conversion (though she does seem to lead a Hindu life, eventually). Aishwarya Rajesh plays Zubeida. One part of me was rooting for her to ace this small part. Another part was cheering for her to screw up her lines, get her lip-sync all wrong and exact revenge on behalf of all of us who routinely suffer the mangled Tamil from Mumbai imports. She walks a dignified middle path, gets the job done. She also gets to be part of a possibly unintended meta moment, when Arun takes her to watch the Hema Malini-starring Dream Girl: a Tamil heroine in a Mumbai movie watching a Tamil heroine in a Mumbai movie.
You look at the insides of that cinema hall and you smell the seventies. As in the far superior Miss Lovely, Ahluwalia brings an era back, from cramped prison cells to the velvet upholstery in a car to chandelier earrings to a smoky club song that remixes an unused Bappi Lahiri song from Dance Dance. It’s a sci-fi themed stage show — though, for some of us, the voices of Alisha Chinai and Vijay Benedict are already a time machine.
This detailing helps Daddy, as also the halfway realism. There’s no love duet between Arun and Zubeida. And unlike a “hero,” he exacts sex as payment for costly contraband goods he’s let her have. You’d never find this scene in, say, Raees, which comes to mind not just because of the milieu but also the maker. Like Ahluwalia, Rahul Dholakia was a small filmmaker, far removed from the mainstream.
But in the absence of specifics or something new, Raees gave us a star capable of putting his own imprint — a signature, if you will — on a role. One could argue that Daddy isn’t that kind of film at all, that it’s more… realistic. But in its own way, it glamorizes the figure at the centre. After Gawli escapes an assassination attempt, his victory is highlighted by a slo-mo walk. And here’s Zubeida justifying, to that cop, why Gawli turned out this way. “Agar tera ghar paida hota to police hota aur tu Dagdi mein to gangster.” (If he’d been born in your house, he’d be a cop today, and if you’d been born here, you’d be a gangster.) It’s that old sob story we’ve been listening to since Gunga Jumna.
And like every self-respecting desi gangster, Gawli is torn between the life he chose and the life he wants. In a clunky bit of symbolism, he’s seen holding a gun in a hand, a baby’s rattle in another. When he’s given a life sentence, a cello mourns in the background, and earlier, when ignored by the cabinet he’s now a part of, Gawli asks his fellow-ministers, “When the people can forgive me, why can’t you?” These touches feel odd coming from Ahluwalia, though he does stage a terrific shootout during Ganesh Chathurthi celebrations, where Gawli takes refuge near a statue of Shiva that raises and lowers a hand, as though in benediction. Bollywood may end up making a masala filmmaker of him yet.
Copyright ©2017 Baradwaj Rangan. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Asha Seth
September 12, 2017
Well reviewed! Is it worth a watch?
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Wander like the Wind
September 12, 2017
“beginning with Daddy’s mummy” – was that intentional?
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sanjana
September 12, 2017
Interesting review and a very good one.
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MANK
September 12, 2017
Still, there are hints of a performance. When asked to stand in a line-up, I caught a glint of fear in Rampal’s eyes
Incredible. you must have eyes of a hawk 😀
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"Original" venkatesh
September 12, 2017
I loved Miss Lovely ., and this must be seen at least for that connection.
Re ; Lanky elegance , if you look at the original Arun Gawli – he is (or at least was) sort of lanku and elegant in his own way.
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Rahul
September 12, 2017
I have wondered why so many of sophomore attempts fail to live up the first films promise. Its almost like the first film is what they had wanted to make all their life, so it is more existential to their being, but now, they have a career so the second one is comparatively perfunctory.
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Chetan
September 13, 2017
Sir hardcore follower of your reviews but reading this felt like you just weren’t in side of the movie. I agree with all your storytelling problems but from filmmaking standpoint I thought this was ace and the world which Ahluwalia creates is so fascinating that I didn’t notice the storytelling problems until the final 15mins. Also I felt this hardly has any sensibility of a masala movie yet it is compelling enough to cater the masala audience as well. Among Bombay Velvet, Byomkesh Bakshy, Rangoon, Raees (indie to mainstream director transiston lot) Daddy felt the most uncompromised and controlled. Maybe this is just me though:-/
PS: Farhan was terrible casting choice.
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Abhi
September 13, 2017
What to say if a reviewer is not able to get the central idea of the film. Even after watching Miss Lovely, you have no idea why the director decided to make this film. May be the director is crazy so he worked on this project for four years or may be you are watching too many bad films that leaves no time for deep thinking.
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brangan
September 13, 2017
Chetan: I did devote an entire para (preceding “This detailing helps Daddy, as also the halfway realism”) to the spot-on recreation of milieu. I think it’s just a question of “Is this enough?” And you seem to think so, which is a very valid response. But I could not get past the generic-ness of the story.
Abhi: What is the “central idea” of this film? And what has Miss Lovely got to do with this film? I’m genuinely curious. Because the making was fantastic, but at no point did I get anything new from the life of a gangster. So would like to hear your POV on this.
About “he worked on this project for four years,” I’m sorry but that is not why one should end up liking a film. One respects the effort, yes. But the film has to work on its own terms. If you spend four years thinking about a film and cast Farhan Akhtar in it, I’m sorry but those parts cannot work just because of the hard work behind the scenes.
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Kay
September 13, 2017
Rahul, it could be because, we don’t have many expectations for the first film. It’s like a blank slate. When the movie turns out to be very good, we tend to think this is the best movie made ever. However, for the second movie we go with the expectations of the first one weighing on us. And hence, even if it’s a decent movie, we end up disliking. I’m sure there is some theory of satisfaction explaining this phenomenon but, I’m not able to remember it.
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Chetan
September 13, 2017
Sir, even the symbolism, you referred ‘clunky’ to, I thought that bit was very effective. It strangely reminded me of this scene from ‘Whiplash’ (not in the way its shot or anything but the way both these scenes capture the entire journey of the character) where Andrew dips his bloody hands in the jar of ice water (the shot is shot horizontally) and the water is turning red.
I totally get your qualms about generic-ness of the story. It does have a lot of similar beats of the gangster genre but I am glad that they didn’t take us from his childhood in chronology like Raees.
Aaah. Feels like I am over-defending this movie now 😛
But yes, I wish the movie had a little more neutral perspective.
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vengayam
September 13, 2017
“One part of me was rooting for her to ace this small part. Another part was cheering for her to screw up her lines, get her lip-sync all wrong and exact revenge on behalf of all of us who routinely suffer the mangled Tamil from Mumbai imports.”
Dig that big time !
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MANK
September 13, 2017
why is Farhan Akthar wasting his time and effort by acting in films when he is so ill suited for it. If i was a filmmaker who was talented enough to make films like Dil chahta hai and Lakshya, i would stick to it full time (and stay away from remaking masala classics like Don for which he is as much a misfit as his acting)
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sanjana
September 13, 2017
I think FA is doing what he preached in DCH or even other such films. Pursue your dreams even if the returns are nil. He seems to be more happy pursuing singing and acting.
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Daddyji
September 14, 2017
1)Casting Farhan as Dawood sucked big time, more so if the director spent four years of thinking about this film.
2)Gawli had terrorised slum dwellers to clear out, but we dont see that side of him. Just a passing mention. Sorry, thats a key aspect of Gawli’s life-arc, his Mr.Baddy side. And you dont see that side. Too bad. What we see is a goody goody Robinhood because the director decided so.
3)The Inspector who’s hell bent on nailing Gawli is mostly a hateful caricature, with no humanity. We have no idea who this guy is, his family or anything else. Just his revenge bloodlust. Doesn’t work for me. Again, Ashim has decided it for us that the inspector has to be hated and Gawli must be feted 😉
4)Whats the whole point of multiple narratives when they all make Gawli seem like Robinhood, and a victim of circumstances with no choices to make? Its a wasted trope as far as I am concerned.
5)Why did everyone bore the inspector with all the details he already knew, since he’s been tracking Gawli forever? Basically, it came as a lame exposition to the audience under the garb of faux-nonlinear-Rashomon story telling.
6)Even if I did not see Miss Lovely, my impression of Daddy will remain the same. Cliched seventies dialogues are just that-cliches.
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Srinivas R
September 14, 2017
I have a feeling Randeep Hooda would have aced this role, or may be it’s just the fact that I am sort of missing him on screen, where is he these days?
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cineabhi
September 15, 2017
That’s a totally individual choice but what irked me to say this was the comment- “Why does this gangster deserve a movie of his own?”
That was not expecting from you, every gangster or even a common man deserve a movie of his own life if the filmmaker is willing to make it. We can talk about why we liked it or dislike but not why the filmmaker decides to make it.
For me the film is more about the system where we can hide our sins easily on the name of God and money.
Again there are several lines where I also felt disappointed that rather than reviewing the film you are more interested in making fun of it like-
“beginning with Daddy’s mummy”
Yes this is a line from Bhardwaj Rangan review.
“In case we mistook him for Giridhar Tyagi, Tap Dancer, I suppose”
Okay so the treatment should not contain any details from real life.
“Like Ahluwalia, Rahul Dholakia was a small filmmaker, far removed from the mainstream”
Its like comparing you with Taran Adarsh
“Bollywood may end up making a masala filmmaker of him yet”
Now here you are predicting the future, that’s the end.
After reading your review on Court, I started following your writing to get the multilayered perspective of the film. But this time I felt that the attempt is more on what should be there instead of trying to find its layer. In the world of social activism and aggressive marketing filmmakers are often become victims of their immediate reality but you have provided me faith that there are people who care for cinema more than activism. Please accept my apology if I hurt you somehow but deep down my intention is keep faith in your writing.
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cineabhi
September 15, 2017
Don’t know what’s wrong with the page as I’m not able to post any comments.
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brangan
September 15, 2017
cineabhi: Retrieved one comment from the Spam folder. Are there more?
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cineabhi
September 15, 2017
No that’s cover all.
Thank you
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