Baby blues

 

 

 

A Bollywood remake of a Southern blockbuster, helmed by a director straight from the South Indian film industry, Baby John, headlined by Varun Dhawan, promises—and delivers—exactly what one would expect. Relentless action, larger-than-life heroics, dollops of sugary romance, and an overload of over-the-top moments that stun both senses and sensibilities. Debutant director, Kalees, in his first Hindi outing, sticks to the tried-and-tested template of Vijay-starrer Tamil blockbuster Theri, yet manages to sprinkle in a little bonus flair. Sure, it’s the quintessential commercial potboiler, but with Varun rocking a man bun, juggling daddy duties, and blasting through bombastic set-pieces, Baby John does pack a punch - or two - even if they’re all too familiar. The non-linear film opens with John (Varun Dhawan) living a quiet life with his precocious daughter, Khushi (Zara Zyanna). Happy to be a father and bakery owner, John’s life revolves around Khushi. While at school, Khushi forms a special connection with her teacher, Tara (Wamiqa Gabbi).

 

 FILM REVIEW  

 

Though Tara is enchanted by John and Khushi, she senses there’s more to John than meets the eye. Soon, the story rewinds to reveal John’s past as the fearless DCP Satya Varma, a man who swears by “good vibes only.” While solving a horrific rape and murder case, he crosses paths with the powerful and ruthless politician Nanaji aka Babbar Sher (Jackie Shroff). Satya ends up killing Nanaji’s son, Ashwin, for his role in the crime. What follows is a storm of vengeance - Satya loses his mother (Sheeba Chaddha) and wife Meera (Keerthy Suresh) in a brutal attack, leaving Khushi as the only survivor. Satya makes an unlikely choice: he fakes his own death to escape the chaos and carnage and starts a new life in Kerala as John. But when Babbar Sher uncovers his true identity, will Satya hide again or finally bring his deadly feud to an explosive end? Much like the original Tamil film, the story and plot play second fiddle to the action and the hero.

 

It’s an unabashed no-holds barred actioner and does not even try to be any different. Embracing the action mantle, the film serves up a variety of action treats at regular intervals. But not all events add up, and several sequences feel like they’re inserted purely for optics, leaving you perplexed and struggling to make sense of them. However, in a style reminiscent of his mentor, Atlee, Kalees knows how to toss in a whistle-worthy moment, a laugh-out-loud punchline, or a heart-tugging scene just when the film risks slipping into monotony or incredulity. And yes, Atlee’s trademark pigeons show up in Baby John as well! But while these touches keep it afloat, the length of the film overstays its welcome. With four songs crammed in before the interval, one fight sequences too many, and sermons that just don’t seem to end, the 164-minute runtime of Baby John feels like an endless loop. It’s fun - but exhausting! Kalees leans heavily on over-familiar tropes - the sweet, understanding mother; the superbly supportive wife; the “family first” mantra; and many more - making Baby John yet another formulaic offering. It’s just age-old wine packed in a glittering, massy bottle. Moreover, true to the Southern template, societal issues are jam-packed into the narrative - rape, trafficking, smuggling, lawlessness etc -aimed squarely at tugging heartstrings and manipulating audience sympathies.

 

This, coupled with the over-dramatic approach, makes the film tedious and, at times, boring. "Mere pehle bahut aaye hai… par mai pehli baar aaya hoon!,” drawls Varun several times in the film! And he couldn’t be be any more right! Varun Dhawan’s action avatar finally gets its due, and boy, does he deliver! After catching us off guard with his gritty spy act in Citadel:Honey Bunny, Varun ups the ante as the superhero cop, blending gritty action with his infectious charm. Despite the unmistakable Southern influences, he seamlessly shifts gears - playing the tough guy, the softie, and even the lively charmer with effortless finesse. The action sequences, choreographed by Sunil Rodrigues, pack a punch and give Varun plenty of room to shine. Adding to the adrenaline rush is Thaman S’s groovy background score. It’s loud but never grating, and its infectious beats turn every fight scene into pure joy. However, despite all efforts to make Satya a larger-than-life messiah of the masses, he ends up being a do-gooder with a heart of gold - a hero we’ve seen far too often on the big screen.

 

Wamiqa Gabbi as Tara has a poorly etched role. One minute she’s a loving kindergarten teacher; the next, a steely undercover cop - oscillating between the two without rhyme or reason. Rajpal Yadav, however, has a more defined role and does justice to it. Keerthy Suresh is a bright ray of sunshine with her natural beauty and grace. Jackie Shroff as Nanaji is fearsome despite his character arc being a cliché. Breathing evil life into his role, Jackie is a worthy nemesis. With little else to make Baby John stand out apart from the action and a charming Varun, the film will be enjoyed only by die-hard fans of cop-vigilante dramas. If you’re okay with yet another round of formulaic potboiler with a dose of good action, Baby John might be worth your time. Others can give it a miss! The Hitavada Rating: O O PS: Oh Bhai! Don’t rush out of the theater - there’s a post-credit scene. Despite making very little sense, it’s worth delaying your hurried exit!