Rowdy Rathore – FILM Review
Posted by FATEMA H.KAGALWALA on June 1, 2012 | No Comments
PRODUCER – Sanjay Leela Bhansali, Ronnie Screwvala
DIRECTOR – Prabhu Deva
WRITER – Shiraz Ahmed
CAST – Akshay Kumar, Sonakshi Sinha
MUSIC – Sajid-Wajid
It was a given that the trend started by the (unwarranted) super-success of the Salman Khan starrer ‘Wanted’ would be difficult to ebb. Akshay Kumar’s latest action film ‘Rowdy Rathore’s’ becomes yet another action-oriented, remade-from-a-South Indian film masala that is neither digestible nor palatable.
The film, remade from the superhit, Ravi Teja starrer ‘Vikramarkudu’, keeps to its basic, original plot-line. There is a fearless police officer Vikram Rathore (Akshay Kumar) who stirs up the bad men of Devgarh (Nasser and company) and is supposedly killed. Until his daughter Chinky, lands up at Shiva’s doorstep, a crook and Vikram’s look-alike and begins to call him ‘Papa’. Till now Shiva’s life has revolved around petty thievery and pretty Paro (Sonakshi Sinha) but the coming of the little girl brings an entire 360 degrees plot twist into his life. As he watches Vikram come alive from his death and meet his death again, he chooses to step into those very shoes to protect Chinky and the people of Devgarh.
It is difficult to critique a film that delivers ecstatically low-grade value packed in A-grade gloss. Everything about the film is loud – in-your-face close-ups, distorted wide-angles, loud explosions and thumping of dead bodies, endlessly screeching dialogue delivery and extremely contorted facial expressions. Amongst all of this whatever little sense of the story we can make, we try to make, and give up exhausted. Such is the toll the visual telling takes.
Films such as Wanted, Dabangg, Singham and Rowdy Rathore revolve around the compelling character of the central hero who is a super-hero in every sense. Even when all else around them falls to nonsense, these men stand tall, and Salman Khan and Ajay Devgan have managed to invest a certain notorious likeability and charisma to their limited portrayals. Akshay Kumar, unfortunately neither gets the opportunity in a hollow character nor does he manage to invest personal charm into his antics. Sonakshi Sinha comes out shining and bright, pretty, agreeable, energetic and a strong performer. Alas, she has little to do. Much like the music which is insipid when it should be rousing and too loud when it should have been soft losing its meaning entirely even in a strictly-for-entertainment film.
It is not the meandering nature of the narrative or Akshay Kumar’s lustreless performance (or character) for that matter. It is the extremely over-the-top antics and sensibility of the film that persistently reminds one of typically C-grade productions of Joginder or Ed Wood if you may.