Thugs of Hindostan: If only it were less Bollywoodised…  

It was a delicious looking, appetising mutton qorma, all the ingredients were put in right measure by the chef, yet the final dish served, was not as the one which was eagerly expected.

Welcome to the world of Thugs of Hindostan, released last week. This epic action-adventure begins on a promising note. Set in 1795, it tells the story of Khudabaksh Jahazi, nicknamed Azad (Amitabh Bachchan), who aspires to free Indians from the shackles of British, hence trains and leads a gang of thugs. Panicked, the British Commander John Clive (Lloyd Owen) deputes a small time thug from awadh Firangi Mallah (Aamir Khan) to infiltrate them to annihilate Azad.

An interesting storyline, not usually tread in Bollywood, a larger-than-life production quality and an excellent art direction makes the film worth at least one watch. Yet it loses its grip the moment it adds typical Bollywood “masala” through two item songs and some overtly melodramatic scenes (the father-daughter lost and found ‘I sing, you recognise’ type of situation, for one). It is like an unwanted rough granules under your teeth that takes way the very pleasure of having a well-cooked dish. You swallow or spit it, is your choice.

With a dream cast of Bollywood ions like the Big B, Aamir Khan, superstar Katrina and much sought after Shaikh of Dangal fame, director Vijay Krishna Acharya and producer Aditya Chopra could do much under the prestigious banner like Yash Raj Films, and budget as big as ₹300 crore. But a typically star-driven Bollywood refused to forget that they were writing for/directing stars. This is the core problem with the film. This is an epidemic in Bollywood and nearly all directors directing stars suffer from it.

Bollywood is a hero worshipping space. The way Firangi impresses Azad and quickly becomes the second in command in the gang, is utterly unconvincing, Is this because Khan is a big hero? Here comes the writer’s fault in which all other characters are left undefined, and are merely unthinking followers. Every task is done by the heroes and second fiddles are fools with no minds of their own. In a film where heroes are in all frames, it becomes overbearing on mind. This film was about a team of people and yet their characters were not developed.

So, we the audience start losing interest within the first half hour. But thanks to Firangi’s amusing portrayal, who rides a pony, even calls it nawab or his master, is a chatter-box, sports a hilarious look, wears a hat and engages people with his flattery comes as a respite. His forever shifty, naughty, kohl-rimmed eyes, clever chameleonic flips and buffoonery provide much required twists and comic relief, which tries hard to hold the audience. Big B can be admired for his hard work at this age, some heroic shots that he seems to have done without a double that includes tilling a barren land and his emotional scenes with adopted daughter Zafira.

Katrina Kaif’s two raunchy numbers stand out as she shows immense hard work in highly energetic, hugely tough dance steps by Prabhu Deva, where perhaps she can give any dancer in Bollywood a run for their money. However, the beautiful damsel is wasted to the core. Her costume also seems very modern too. She dances like a pro but looks every bit Katrina rather than her character – a nautch girl Suraiyya.

Sheikh as Zafira has trained perfectly well to execute the role of an emotionless aide of Azad. Her gymnastic capabilities, somersault, trapeze and archery moments in the film exhibit she is here to stay.

Thankfully, Firangi’s aide Sanichar (Zeeshan Ayub) grabs a meaty role. He acts as though he stammers and understands birds’ language. A natural actor, a well-read, thinking artiste, Ayub (his videos on Nazeer Akbarabadi’s poetic rendition are viral on youtube) proves his mettle. ances it intelligently. In fact, he comes across as much needed break, often comic interlude. Indian films do need to spare a glance at such talents more often.

The one liners in film’s dialogues like, “Taaqat insan main nahi, iradon main hoti hai” or “Yaqeen karna meri aadat hai, dhoka dena tumhari, Main apni aadat sey majboor hoon, tum apni aadat sey”, do take some cake.

There is a subtle message of human bonding beyond religion that the film shows. Khuda Baksh and Zafira are Muslim characters and Firangi is not. They join hands in desire of Independence. It does send clear hints of nationalism, thankfully, but not overt nationalism. The film nowhere plays the religion card yet delivers an understated clue of the great power of secular India that it was, and that it ought to be.

But it’s time Bollywood understood that it really does not need to over “Bollywoodise” itself unnecessarily to cater to so-called front benchers. It is time they stopped underestimating the audiences that does love a melodramatic film but also loves films like Newton, Stree and Badhai Ho having no big heroes.

No wonder the film has crashed at the box office within a week. Actor-Singer Suchitra Krishnamoorthy has posted a selfie on FaceBook watching this movie all alone in Mumbai, exposing the low turn-out within the first week. This, when Rs 50 crore was advance ticket sale!