Farhan Akhar struggles to sprint
in slow motion, a waterfall of sweat dribbling down his face, his eyes blood
red, his mouth grimacing in agony, his thighs straining due to the wounds on
his feet, the bleeding bandages on his limbs dramatically unwrapping and
falling off to the backdrop of loud, melodramatic music. Farhan struggles to
sprint in slow motion, a huge rubber tyre is attached to his waist, he falls to
the ground as dry sand swathes his contorted face and Arif Lohar’s voice booms
at speaker shattering levels. Farhan sprints histrionically in slow motion on
the tracks of France, Nairobi, Ohio, Helsinki as a patriotic song roars through the speakers, assaulting the ear drums like a baseball bat on the
groin. Bhaag Milkha Bhaag is one of,
if not the most manipulative film ever made in the history of Bollywood.
Shooting for inspiring, director Rakeysh
Omprakash Mehra only delivers the exaggerated and devolves the plot into a
tangle of ditsy overwrought scenarios in Bhaag
Milkha Bhaag. And at three hours and ten minutes, the film is as bloated as
its protagonist’s pectoral muscles and as emotionally resonant as Sunny Deol’s
boxing matches in Apne. If the
filmmakers hope to render Milkha Singh the respect that he deserves, they’re
going to need movies a lot better than Bhaag
Milkha Bhaag to do it. Prasoon Joshi is a gifted writer but a strong
director would have been of utility here because ROM here seems to have been
preoccupied with only staging mawkish over the top sepia toned flashbacks. Though
some of the cinematography is stunning, and practicing gymnasts and torso
enthusiasts will love Farhan’s exceptional physique, it's neither riveting entertainment
nor smart filmmaking for the rest of us.
Bhaag Milkha Bhaag calls itself a biopic but it never stops feeling
like an exaggerated yarn – the creative liberties taken are just ridiculous and
expecting anything factually correct goes out the window when Farhan starts
singing a country western style Hindi song at a Melbourne bar with an Australian
girl. It’s not that obfuscating facts is always bad filmmaking – A Beautiful Mind was a well made film
despite paying zero attention to John Nash’s real life. But unlike that film, Bhaag Milkha Bhaag is shabbily filmed
and poorly acted, its lone positive is a thoroughly awful performance by Dilip
Tahil whose hamming caricature of Pandit Nehru is the most unintentionally
hilarious turn you’ll see this year. Despite Farhan’s charming screen presence
and admittedly impressive dedication it's a losing battle with a plot this
clichéd, a script this underwhelming and truly woeful direction that makes you
yearn for the assured hand of Shimit Amin.
The biggest problem is the filmmakers mistake contrivance for construction every time the plot shifts to Milkha’s childhood in
the 1940’s. The segments between Milkha and his sister (Divya Dutta) become
quite comical after a while – a scene where they reunite after the partition
makes you wonder why in 2013 Bollywood still makes films like Gadar. It's understandable that the filmmakers want to highlight
Milkha’s harrowing past, but overblown exposition and keeping the most obvious
event as a suspenseful plot point isn’t the only way to construct a gripping
and moving narrative. The reliance on manipulative emotional wrangling was the
case with Rang De Basanti as well but at least that film had good music and acting to
conceal its gluey side. In Bhaag Milkha Bhaag literally every single dramatic turn is given the 80’s
Bollywood and 2000’s desi soap opera treatment to wrench emotion out of you.
Every time a character appears on screen to say something weighty, sappy piano
keys begin playing. In fact the entire movie has the self-pitying Shehnai based
background music from the parody scenes in 3 Idiots that
feature Sharman Joshi’s parents. Adhering to the Bollywood formula of the
predictable the film’s focal point is hinged towards a triumph at a competition
against Pakistan, and there is Meesha Shafi cast in the worst, most tasteless
possible role to embarrass our neighbors a tad further. Paired with the dull
sports based storyline is an even duller romance between Farhan and Sonam
Kapoor who, I can say with only a little irony that she plays an eye shadow and
Revlon lipstick wearing small town girl in 1950’s India.
(First published in Firstpost)
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