Ritu's Reviews

Bhagban was a story where the Chopra’s listened to their heart. They simply made a film they believed in and one that clicked with their values. Without hesitation if the film would be perceived old-fashioned, or rejected due to elderly greats playing the lead of a hero and heroine, they delivered a message they felt strongly about.
In Baabul, the Chopra’s play it safe. While the theme is still relative to a social stigma, they present it in a way that can be appreciated by fans of commercial cinema, putting known ingredients and using the same formula vs. cooking up a new recipe.

Baabul explores a concept of too good to be true in-laws and the widow of their son, not just their daughter-in-law but a daughter to them. The concept isn’t entirely original and nor is its approach. In fact its slightly archaic in thought with stale dialogues, and very few golden moments that aren’t borrowed from previous hits. Granted it is forthcoming for in-laws to think of re-marrying their son’s widow and be unselfish, but its nothing that isn’t shown on daily Indian soaps.

The first half is filled with solid entertainment. Salman Khan can be solely accredited for keeping the film lively with his loveable character. The second half plunges, largely due to John Abraham’s inability to pick up from where Salman left off. Although a dramatic turn of events causes the film to slow down, the director still slacks on keeping the pace and ensuring the climax is’nt predicable. The editing could use work, as the film fails to be cohesive. The viewers mind finds itself wandering many a times and there’s nothing to keep you glued to your seat. From a visual perspective, cinematography is of standard. The melodies by Aadesh Srivaastav are decent. ‘Come on, come on’, ‘Bebasi Dard Ka Aalam’, and ‘Baawri Piya Ki’, appeal to the ears.
So while Baabul’s script isn’t nearly as strong and unique as Bhagban and it doesn’t have nearly half the charm Bhagban did, it does have half the star cast to save the film with their amazing grace. Amitabh Bachchan, Hema Malini, and Salman Khan along with the new leading lady Rani Mukherjee put a twinkling touch to the otherwise average screenplay. Thanks to the competent execution by these artists there are some notable moments that remain with the viewer long after the film is over.

The characters of Hema Malini and Amitabh Bachchan have some touching moments with their ‘bahu’, Rani Mukherjee. The child artist evokes emotion with his understanding of death and desire to be close to the scent of his father. Rani’s grief is agonizing.

Salman Khan does a superb job and is an all around treat. Rani Mukherjee continues to compete only with herself, being in the best category, and gives another remarkable performance. Hema Malini is perhaps more gorgeous than the young Mukherjee and steals the spotlight as the eye-candy, graceful as ever. Her role however is not as extensive or moving as was in Bhagban. Amitabh Bachchan is the hero of the film who remains as a solid pillar throughout, understanding very well how to cater to his character. John Abraham is the biggest disappointment. He doesn’t look sharp and he seems to have acquired amnesia when it comes to acting. Expression-less and stone-faced is how he comes across, even in the most pivotal scenes. The supporting cast of Sharat Saxena, Smita Jayakar, Saarika, and Om Puri take notice above all. The rest inclusive of Rajpal Yadav, Aman Varma, and Parmeet Sethi are wasted.

Overall Baabul doesn’t come close to being as good as Bhagban. However its still a wholesome family entertainer, with good performances, a progressive message, a striking cast, and some key highlights. Putting all criticsm aside, whatever it is about the film, there’s an endearing quality that makes it likeable, allowing Baabul pass through with Ritu Mahindru's recommended 3 stars.