“Rowdy Rathore” races at the premise that heroes are made by circumstances, not design. That’s how the street-smart Shiva results in a town run by garish goons, where homes, humans and hopes are burnt in effigies mocking human rights.
It is an old school good-versus-evil comedy-action-drama with paisa-vasool written in every frame.
Prabhu Deva, who earlier directed Salman Khan’s cop-on-a-rampage saga “Wanted” puts Akshay at the same page. To his credit, Akshay manages to create his own world in that Salman-space. Never letting go of that twinkle in his eye, Akshay sinks his crooked teeth into the meaty double role with the warmth, affection and relish of a dinner guest who knows all of the yummy dishes at the table was cooked just for him.
Akshay goes for the splendid meal with the hunger of a person who would possibly not see tomorrow. It’s high-octane performance stuffed with warmth and fury, never over-the-top, even if all hell breaks loose.
The fights are ferocious, but never gut-churning. You'll be able to watch the bloodshed with the children. They’d know, Uncle Akshay goes to win.
The thing about “Rowdy Rathore” is it never takes itself seriously. The cop and his double won’t kow-tow to the powers-that-be. Ironically, the film grandly bows its head to the good Bollywood Formula. The dialogues are bombastic, bordering at the corny, nevertheless fun of their intended ideological inferences.
A profound reverence for each trick within the book of filmic formulas sees the accelerated narration to its breathless finale. Even if the going gets gory, there's a tongue-in-cheek humour within the violence.
It’s not the arrogant aggression of Salman in “Dabangg” or “Wanted”. In “Rowdy Rathore”, Akshay creates a brand new language of heroic aggression. He's goofy, wonky, clumsy and oafish. He has no respect for the principles of the office. But his character loves doing what he does, because a person has got to do what he has to do, and very someone has to do the dirty job of cleaning up the mess we’ve created.
Metal rods from rickety machines are wrenched out and used to show the anti-socials a lesson. The ‘ouch’ is rarely unwelcome. Akshay creates a ‘no wince’ situation.
Whether its wooing a Patna girl (Sonakshi Sinha) everywhere Mumbai streets and into a wedding venue, or within the second half, taking up the vile villainy of a self-appointed lord of diabolism named Baapji (Nasser), who's so uncouth, unwashed and unmannered that he's downright funny in his obscene rowdyism.
The generous splash of colour and music (Sajid-Wajid at their peppy pinnacle) pitches the film at a massy level without toppling over right into a revolting rowdyism.
Formulistic cinema hasn't ever been celebrated with more gusto.
“Rowdy Rathore” revives the years of Eastman colour cinema within the 1960s and 1970s, when movies were crazily colourful and rollicking fun, while you knew the villains would get their cacaphonic come-uppance.
Pulling out all stops to provide us a spicy meal, Prabhu Deva succeeds in putting a dizzying spin into Akshay’s double-role act. Twirling his moustache in Rajputana pride, romancing the spirited small-town chick or beating up 23 goons with one weapon (self-determination), Akshay delivers a performance that makes you need to jump from your seat, clapping, whistling and cheering in appreciation.
While the fights are brilliantly conceived and executed, it’s Akshay’s courtship with Sonakshi that had me giggling non-stop. If he's outrageously coy in his wooing act, Sonakshi gives him tit-for-tat, matching steps together with her way more experienced co-star, never letting the age difference daunt her.
The remainder of the forged only has to face around to extol and cheer our down-to-earth superhero cop. The entire while, the narration never loses its tempo, warmth or humour.
The choreography ensures that the dances merge with seamless elan into the action.
“Rowdy Rathore” is very a gravity-defying feat. It often finds the villains being hurled into the air. However the narration manages to maintain its feet at the ground. Really, Akshay because the angry cop is more entertaining than intimidating.
Three cheers for producer Sanjay Leela Bhansali for popping out of his comfort zone to celebrate the spirit of Hindi commercial cinema at its dizziest and craziest. – IANS
