A classy gangster is a Hollywood invention – Orson Welles.
It’s just that the classy criminal is too conscious of his class in Bollywood.
There’re spoilers ahead, so you’re requested to come back to this article after watching the film.
You notice Jimmy Shergill in the opening sequence and you understand in a flash that he is soon going to disappear. Reason for it is very simple. Somebody has to pave the way for the hugely publicised action hero. And, then he arrives, only to not leave the frame for even 10% of the entire film. You get my point? It’s predictable.
Rajveer Nanda (Hrithik Roshan) is a stylish thief with amazing abilities, one of them is his talent of crossing a lake in just one breath. He takes up the challenge thrown at the world, preferably Indians, by an international terrorist Omar Zafar (Danny).
This means he has to steal the dazzling Kohinoor from a London museum. He duly does that but somehow decides to not give it to Zafar. It starts a cat-and-mouse game between the two. Who’ll win the chase forms the rest of the story.
But, what is Katrina Kaif doing in this plot? Come on, it’s a Hindi film and the nation wants to see a glamorous heroine dance at exotic locations. At least, this is what the director thinks.
There can be only two thought processes as far as the director Siddharth Anand is concerned. Either he believes that huge promotional drive will sell his half-baked product or the audience is actually full of people who believe Knight And Day is a good film. In both the cases, you’re left with no choice other than bearing a mindless script for more than 155 minutes.
It is dangerous when an actor gets too conscious of stardom; this makes the person believe he or she is more saleable than the concept. It is actually difficult to believe that this is the same Hrithik Roshan who looked earnest in films such as Lakshya and Koi Mil Gaya.
Anyway, market pressure can do that, but what is unacceptable is his understanding of a story which was not there in the first place. Even if it was there, it needed careful detailing. Oh, I forgot, you are remaking Knight And Day!
Siddharth Anand’s filmography boasts of Ta Ra Rum Pum and Anjaana Anjaani where the road played an integral part. Once again his narrative strategy brings the road to the helm of affairs — it becomes the connecting point.
It’s a different thing that the road is full of potholes and rarely allows smooth driving.
A character unfolds the canvas with, “Terrorism ke business me kabhi recession nahi hota.” This might be true but how could you be sure about the characterisation of Danny who looks more like a clueless businessman than a terrorist. Also, he mouths words such as “Nagn Naach”.
Those who have even a small understanding of functional Hindi would reject such a villain. Ironically, he introduces himself as Zafar, Omar Zafar. You got it, right?
Another dialogue goes like, “Jo desh ke liye ladte hain unke maut ka countdown pehli saans ke saath shuru ho jata hai.”
No problem, only that we thought our films have come a long way since the ‘70s. Actors like Kanwaljeet Singh and Deepti Naval are reduced to terrible hamming. Come on, give them at least what they deserve if not better.
An officer is getting killed and her mother is crying on the other side of the phone. Sorry, but this could have been done in a much better way.
Abbas Tyrewala’s dialogues fail to hit the right spot. Kohinoor has been stolen and a top intelligence officer says, “Kohinoor ko dhundna bahut zaroori hai.” Really? Another gem comes from Harleen (Katrina), “In sabke baad bhi mera mann kehta hai ki tum bure nahi ho.” By now, Rajveer has killed at least 100 people, all in the name of style.
Yes, the film loses its focus over logic in the very first scene. Still it would be difficult for anyone to accept a limping hero dancing in a fraction of a second. Similarly, the authorities fail to understand the importance of questioning a criminal’s kin.
Sometimes, it seems that the director has deliberately underestimated the audience’s IQ. Katrina’s character is imbibed with the idea of virgin romance, the route Hollywood used to take in the late ‘50s. You remember Bonnie and Clyde? You’ll find a tinge of it in Bang Bang as well.
The writing is lethargic, so much so that the climax of the film is straight out of a Mithun Da film where the actors start fist fighting once the bullets finish.
Some action scenes are cool but they haven’t been given enough screen space.
Consider the idea of playing air guitar. The person doing it may be having the time of his life but onlookers cannot be expected to share the enjoyment.
Bang Bang is one such film, where the lead actor looks engrossed and too careful about creating a brand image. He believes whatever he is doing is going to be applauded by the audience.
It’s also like that biscuit ad where everybody is running after a truck. The actors look perplexed but the brand somehow remains in the memory. The postcard images and toned physiques may help the audience in brand recall, but without any value.