Phantom

As a 30-year old Indian born and brought up on a steady dose of Bollywood, I believe that I am a patient, low-maintenance and forgiving movie-goer. I have endured and enjoyed a wide variety of mediocre films – the ones that showed a lot of promise but were let down by absurd casting decisions (Ajay Devgn’s Drishyam), ones that had the right cast and story-line but somehow just gave up in the last hour (Ishaqzaade and Badlapur), films that just wanted to make a quick buck by positioning themselves as a new-age entertainer but were inherently as regressive as they get (Any Karan Johar or Imran Khan movie you can think of), even films that were downright stupid (Aiyya). So you see, I’ve been through a lot and if a gun is ever pointed to my head, I’d even find one or two redeeming factors about these movies. But films like Phantom would rather make me urge my captor to pull the trigger and get it over with. Phantom is a classic example of the worst kind of cinema (according to me, of course), the lazy kind; the kind where no one gives a damn about what they are doing.

Let’s just cut to the chase. Phantom starts out like Rambo (there is even a reference of the movie/character by one of the characters in the second half) and ends up trying to be Steven Spielberg’s Munich. And it fails marvelously at both. Now, I don’t hold Spielberg on a pedestal and say that his movies should not or cannot be remade. Akshay Kumar’s Baby and Arjun Rampal’s D-day had pretty similar ‘eye-for-an-eye’ story arc, but were still pretty entertaining movies because (i) some thought had gone into the characterization of the ones seeking revenge and the atrocities being avenged for, and (ii) they had a couple of key sequences that were gripping and/or entertaining. Kabir Khan’s Phantom bothers to do neither.

The film has a forward-backward timeline that comes across as an editing gimmick. The whole ‘story’ could have been told in a linear manner without any loss in meaning or experience. The top guy at R.A.W is swayed into mounting a one-man revenge squad to avenge 26/11 (7 years later, no less) by a rookie played by Mohammed Zeeshan Ayyub (a fine actor saddled with a terrible, unintentionally comical role).

The one-man revenge squad is, of course, our Saif Ali ‘Rambo’ Khan. He is an ex-army man who has a history that the audience never cares about (and neither is it made to). There are a couple of scenes that randomly give him the targets (why are they even using a projector to show pictures that are already there in every news portal possible?), some passports are handed over, a mobile phone is given (with specific instructions not to call back) and a wad of cash is thrown in. No other form of training or reconnaissance is needed (He’s an ex-army man, he’d be well-versed with all the intricacies of espionage, right?).

Our man, then goes about doing his thing across countries ranging from UK, US, Syria and finally, Malerkotla… err.. Pakistan. He knows exactly what to do, because he has read the script (let’s assume that there was one), he has no clue how to emote (because Rambo Khan can’t and no script can teach him that). In these missions, he is helped by Katrina ‘unnecessarily super-hot’ Kaif, an ex-RAW agent now working with an international defence contractor and one whose middle-class insurance agent father living in Colaba used to take her to Taj for tea and pastries (you see, insurance agents earn a lot.. even the middle-class ones).. Every assassination is conveniently plotted and childishly executed.. The audience is spoon-fed every bit of information after it has been thoroughly dumbed down (God forbid if someone in the audience didn’t understand an important plot twist). The result: a movie where the audience understands exactly what is going on, it can in fact predict what is going to happen and yet doesn’t give a damn about any of it. Bravo!

Let me take this opportunity to just call a bluff. This movie wasn’t delayed because there were post-production issues (there is so much wrong here at the production level that no amount of post-production can solve it). It was intentionally delayed because Kabir Khan finally bothered to look at the finished cut and thought “Oops! Can’t release this before or along with Bajrangi Bhaijaan. Let’s just serve this later like sada hua chinese manchurian served after 5-6 rounds of whiskey so that no one knows what they’re being fed.” Well, Mr. Khan, I, unfortunately, was sober and I know bloody well what you served me. And that is all that I have to say about that.

Agneepath: It’s all in a name

It is ironic that my very first review on this blog is of a film that is a remake of classic, I’ve grown up watching. I’ll still try to be objective, but do overlook an occasional lapse.

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What is in a name, right? In Karan Johar’s Agneepath of 2012, Mandwa could have been Diu instead of a mythical island off the coast of Mumbai where the sun never shines. Vijay could have been Ajay, Master Dinanath could have been Master Hariprasad and Kaancha could have been Kunvar. This is the thing about Agneepath. It is a completely standalone story that could have been “Pratishod” or “Krodh” and it wouldn’t have mattered much.

The movie starts like the original; with the altruistic Master Dinanath Chauhan who has a penchant for speaking like Dharmendra of Satyakam and for quoting the poem, Agneepath. The déjà vu, though, ends when the Masterji dies and Vijay opts for a rather low profile burial than taking the dead body on a cart while chanting Agneepath and cremating it.

Thereafter the story moves to Mumbai from where the story takes a completely different turn. I’ll just stick to the discrepancies here. In this Agneepath, Vijay is more calculative and cunning. He has no qualms about dealing with drugs. He seems to have a lot of public support simply by financing an ambulance and Kaali’s (Priyanka Chopra) Chinese beauty parlour. He is also the more brooding type who continues to be haunted by his childhood. This somehow shaves off a lot of dimensions from the character. But just when you become comfortable to this Vijay, he turns around and inexplicably becomes a super-hero who can still pull up a guy like Sanjay Dutt after being stabbed multiple times!

The patience-testing Krishnan Iyer (YemYeah) of 1990 has thankfully been done away with. Plenty of characters have been tweaked to make way for Rauf Lala (the magnificent Rishi Kapoor) and the audience is indebted to director Karan Malhotra for the same. Sanjay Dutt as Kancha Cheena is on precarious grounds. He looks menacing when he laughs and snorts but falls flat when he’s chanting shlokas from Gita. Priyanka Chopra is relegated to being a pretty but irritating dancing extra. Hrithik Roshan…hmmm.. I personally feel that he was a bit of miscast in this movie. I’m not being biased towards lineage, but I really feel that Abhishek Bachchan could have lent more gravity to Vijay Dinanath Chauhan. Zarina Wahab as Vijay’s mother is a major letdown. She doesn’t stand her ground and you never really trust her allegiance. Owing to an obvious ‘liking’ that I have for Katrina, I shall resist the temptation to comment on her ‘item song’. 🙂

Technically, the movie looks good. The set design (especially the Mumbai of yore) by Sabu Cyril is great. Production values are consistent throughout. The dialogues pass muster. All the ingredients are there but they just don’t add up to the desired taste. It is in the destiny of every remake to be compared to its original at least in terms of memorable scenes, characters or dialogues. In the Agneepath of 1990, I had “aaj sham 6 baje maut ke saath apna apilment hai”, “yeh ladka, chingari!” and “Dinkar Rao, Topi sambhaal” among others; In Agneepath of 2012, I only remembered Rauf Lala and Chikni Chameli. Now what do you make of a film in which you only remember the secondary villain and the item girl? Agneepath, I feel, would have been better off with some other name.

Rating: 6/10 (Watch it, if you haven’t watched the Mukul Anand classic)

 

 

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