“Don Ko Pakadna Mushqil Hi Nahin, Namumkin Bhi Hai”. (it’s not just difficult to catch DON, it’s impossible).
You could say that again! Farhan Akhtar who once upon a time made one of Indian cinema’s prevalent path breakers DIL CHAHTA HAI, slips into a gamine groove to recreate Salim-Javed’s script from the original 1978 film of the same name.
Let’s not play the blame game. But whoever thought a slicker versionâ€¦ no, make that a much much slicker version of the clever wheels-within-wheels 1978 script would work better when packaged in gallons of gloss, has gallâ€¦ and a vision that just stops short of being audacious.
This is a cheeky and chic homage to the earlier DON. It goes into places that the earlier film couldn’t have dreamt of.
Farhan Akhtar’s feisty feast of muted fury film opens in Paris (totally unnecessary) and quickly moves to Kuala Lampur where the narrative stays put as Farhan Akhtar tries to put across the story of DON, his doppelganger Vijay, the vendetta-oriented Roma (Priyanka Chopra) and Jasjeet (Arjun Rampal). Roma fumes as though she had taken lessons in femine fury from Zeenat Aman in the earlier DON. Rampal frets and limps (in tandem) as though he had watched Pran in the original DON hard enough to know, if you can’t beat ‘em, zonk em. And Shah Rukh is the twin-faced imp/ogreâ€¦ He snarls, sneers, jeers and taunts the whole cult of superstardom by taking the role as away from Bachchan’s star-turn as humanly possible.
It isn’t a performance. It’s a bouquet of over-the-top expressions designed to showcase the star’s ability to get the better of his character, rather than let the character get better than what it was when it was last seen almost 30 years ago. But we’re strayingâ€¦ a crime that this film never commits. The narrative is so ram-rod straight and razor-sharp you wonder which came first: the remake or the remix. Or are they the one and the same?
The confusion of identity goes well with the delicious ambiguity that is given a psychological twist in this re-interpreted tale of the good, the bad and the agli kadi in the karmic cycle of remakes that seems to have overtaken our cinema.
A (Hrithik Roshan) is the master of disguise. He plans heist operations, executes them perfectly all over the world, and leaves his trademark signature at the place of theft.Â It is Jaiâ€™s (Abhishek Bachchan) job to trace and nab A. Jai, his sidekick Ali (Uday Chopra) and beautiful Shanoli (Bipasha Basu) form a trio to trap A. The rest of the story is all about the hide and seek games between A and Jai.
Hrithik Roshan: Hrithik Roshanâ€™s performance is super. The action choreography for Hrithikâ€™s gadget-frenzy character in this film is far superior to the choreography composed for the supernatural powerful character of Krrish. Hrithikâ€™s dance to the title song is superlative. He imitates Antonio Banderas in the sword heist scene. The superb style and grace he brings to the character of the super thief is beyond all expectations.
Others: Abhishek Bachchan sports a rugged look. His performance is fine, be it delivering smooth punch dialogues with nonchalance or teasing Ali with a deadpan face. Uday Chopra is cool as the witty but inept cop. Aishwarya Rai is good but looks tired in this film. Her performance in the bullet-shoot episode is very good. Bipasha Basu adds glitz to the cast with her effortless performance. Rimmi Sen is limited to a couple of scenes in the film to incorporate bigger names like Aishwarya Rai and Bipasha Basu.
The way the three heroes are introduced in this film is cool. The first half of the film is impressive. But the second half concentrates more on the love angle between Ash and Hritik.There are some dull moments in the second half. However, the stylish climax makes up for everything. Dhoom 2 is stylish, savvy, grand, peppy and modern. It is probably one of the most stylish films ever made in India. A must see!
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