Sunday, 22 December 2013

DHOOM 3 : Movie Review

When the writer of the first two films of a successful franchise takes the director's chair for a third shot at more of the same that is exactly what one gets : more of the same. This time around, the bikes, babes and brawls formula is dished out even more liberally than before. So, for the most part, Dhoom:3  is a high voltage action flick that relies squarely on known methods of genre. Actually, familiarity of this kind isn't such a bad thing since the audience knows what is coming and does not have too many unsettling surprises sprung at them. Writer-Director Vijay Krishna Acharya who scripted earlier Dhoom 1,2 and directed Tashan, has mounted this one a scale that is no less unapologetically lavish. There are beautifully layered frames, shots where lighting creates the afterglow that follows moments of spiritual revelation. Though, that sort of depth is just an illusion and a mirage in this film, like the magician's trick which defines the film's plot. But, there is a secret that this intriguing film springs at us mid-point. Alas, the secret, if one may call it that, only contours the film's most well known fact : this is an Aamir Khan show all the way. And he gets to give his most over-the-top performance - some of which looks like a dig at Shah Rukh Khan's My Name is Khan.

SCRIPT & SCREENPLAY                                              :          Aditya Chopra along with Vijay Krishna Acharya share the credit for being the story & screen-play writers of Dhoom 3. Had they invested as much energy on developing the characters beyond superficial levels and investing  the dramatic situations with more depth than what one encounters in standard revenge dramas and cops-and-robbers capers, the third instalment might have towered above the first two. A lot of time in the first 50 minutes or so is wasted on the protracted 'entry' scenes that are apportioned to the principal members of the cast. There is a tremendous sense of fun and games in the goings-on but there is also a deep sense of tragedy underlining the playfulness. Sombre ramifications accentuate the bevy of bacchanalia. The finely framed out film finally comes to a very sad conclusion where the theme of twin is seen as a mirror image that's wiped out under pressure. The story begins in 1990 in town of Chicago with Iqbal (Jackie Shroff), committing suicide as his Great Indian Circus is closed by bank after he becomes defaulter. His son, magician as well as a circus performer, Sahir (Aamir Khan) grows up with an aim to virtually destroy the bank to the verge of closure. He successfully robs the bank and to nab him our desi cops Jai Dixit (Abhishek Bachchan) & Ali (Uday Chopra) are called from India. The rest you can go and watch in theatres. 

STARCAST                                                                   :     Aamir Khan along with technical brilliance holds the key to the film's efficacy. And how much you like this segment of this Dhoom franchise depends entirely on how well you accept Aamir's over-emphasized performance, ceaseless smirk, constantly arched eyebrows and all. Aamir Khan, needless to say, takes predence over everyone (and everything) else in the film, including occasionally the script. From the word go, he gets to 'perform' an array of gravity-defying acts and motorcycle stunts that are difficult to describe. Abhishek Bachchan as Jai, Aamir's law-enforcing adversary tries to offset Aamir's double edged swat with some staright faced acting and has looked impressive too. But, Alias he doesn't have much scope to perform and the same stands true for Uday Chopra as Ali who had considerable better comic moments in  Dhoom predecessors. Although Katrina Kaif has a minuscule role but she has series of breathtaking dances to perform and looks ravishing while doing them and simply bowls us over. She jumps,glides somersaults and gambols until we flip for her graceful moves. Our, Jackie Dada also manages to impress in his special performance while chanting " Bande hain hum Uske, Humpe Kiska Zor".    

TECHNICAL FINESSE                             :             Undoubtedly, Dhoom 3 can be touted as one of the best ever flicks in terms of technical excellence right from the word go n the first frame of the movie. The music for the flick has been given by Preetam who i feel has done an average job if compared to the other earlier Dhoom offerings. The cinematographer of the the movie is Sudeep Chatterjee who has done an astounding job and definitely deserves all the praise for the same. He definitely knows, recognizes, acknowledges and records beauty in every form, right from the architecture to Katrina Kaif. Two other technical crew who deserve applause is Production Designer Sumit Basu and Art director Adri Siriwatt. Gimmicky props are constantly brought for consideration. Sleek motorcycles that turn into motorboats in green-blue canals, magician's tricks which show up at any given moment, twins who swap roles without warning. The movie has been edited by Ritesh Soni who has really done a great job as despite being overlong (172 minutes) and a tad laden footed at times, Dhoom 3 stays true enough to its avowed intent of being passably engaging.  Director, Vijay Acharya who helms this avatar of Dhoom, furnishes a fabulous style to the proceedings with beautifully lit  frames. The director knows how to juice the characters' emotions without spilling the sentiments all across the frames. 

WOW MOMENTS                                     :        The scene in the beginning of the flick with Jackie playing a magician on the skids, is done up in shades of shimmering discontent suggesting a deep fracture in the plot separating the haves from the have-naughties. The tap dance performed by Aamir Khan with such an ease despite his short stout built is also a highlight of the movie. And, "Malang" song has also turned out to be a real visual treat. 
CONCLUSION                                                   :    DHOOM : 3 is an intriguing piece of work....slender  supple     smart    extravagant .....and yet helmed by a central performance that screams for attention. 
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