Catch me if you can. Review on Dhoom - Bollywood

A cat and a mouse game is always exciting to watch… it’s also always the most dangerous to play. Although the cat starts out as a huge favourite and often wins the game as well - sometimes, the rat may prove more than a handful for the cat as well. This is especially true when this game is played on the streets of a metropolitan city and the players happen to be not of the four-legged variety but of the two-legged one. The case becomes even the more exciting if the two are facing off each other on the opposite sides of the law.

Imagine being a part of a cat and mouse game being played out on the streets of your city, with you as the only observer. The excitement, the thrill, the challenge, the acceptance, the hide and the seek. Everything is there. Slowly and steadily the testosterone levels start rising, the blood starts gushing out in spurts, the excitement levels begin to rise, heartbeats begin to quicken and the brain goes for a tizzy.

Welcome to Dhoom. Not the first, but indeed one of the most stylish versions of this deadly game on celluloid. A perfect movie – one that showcases bikes as a genre of filmmaking, it can be considered as the most vocal proponent if not the beginning of a new genre in Hindi Cinema. Dhoom is all that and much more… It’s a movie that dares to do something different…. Something out of the box…

Bike Thrillers, a relatively new genre in Hindi Cinema needed a classic to establish itself in the audience consciousness and Dhoom not only takes up that space but also makes it almost a home for itself. In it’s own inimitable style, Dhoom rides roughshod over conventions and considerations and establishes why Hindi film audience is arguably the most diverse and one whose tastes are the most difficult to judge in the world. Maybe formula directors should take heart from this analysis of why a formula goes stale in quantum time.

Dhoom is a story of mindgames… a story of two brilliant and capable adversaries locked in a game of life and death – a game that can have only one result, the destruction of one and the success of the other. Often such a game in Hindi movies is loaded heavily in support of the protagonist and it’s quite rare to actually find a movie wherein the antagonist is always given an equal, if not better, scope to perform. However, in Dhoom, the actors irrespective of their hue and colour have been given equal space and the result is an excellent exposition of the mindgames between two remarkable brains.

Abhishek Bachchan as the cop, Jai Dixit brings to the character a dash of realism. As a no – nonsense cop who thinks of nothing but his duty all the time and one who is not averse to using decoys and Trojan horses to achieve his end, Abhishek proves true to his star billing. He is the perfect counterfoil to the comic characterization of his sidekick Ali, played to a perfection by Uday Chopra. However in Abhishek’s performance, one can still see the trademark mannerisms of his more illustrious father and he needs to shed them fast, if he intends to be known on his own. Some scenes to watch out for are his drunken scene in the hotel lobby when he leaves John stunned by his sudden appearance. Also, he exudes genuine confidence in the scene wherein Kabir challenges him on the phone. The egotism and cocky attitude is more than evident and goes a long way in establishing his credentials as a tough taskmaster.

John Abraham as the evil genius, Kabir, is splendid and a real revelation. After a very long time, Hindi Cinema has found a model who really can act. The actor brings to his character a rare panache, an attitude and a style that’s more than infectious. Although his acting leaves room for improvement, it’s no secret that he does manage to hold his own and create his own screen space when faced with genuine competition. The most potent expression of the actor is his detached and arrogant expression when faced with challenges of the most dangerous type. See him in the scene where he challenges Jai to the game of death and you really can feel the potency of his performance. In each and every frame, he comes out as an equal to the protagonist in every aspect and therein lies his success. The arrogance and attitude, which is the hallmark of his performance, is striking in the scene where he challenges the ACP and then actually fools him in the hotel lobby.

However, it’s Uday Chopra as Ali, an expert biker who scores over all peers with a comic timing that is second to none. The guy brings to Ali, a rare vulnerability that is winsome and appealing although sometimes he does go overboard with his performance. Uday is at home in the comic track and equally efficient in the scenes where he exudes nothing but cold rage for Jai. He appears to have a special liking for the director since in all films by this director; he indeed does manage to leave an impact. Observe his mannerisms whenever he’s face to face with Jai and you can feel his discomfiture with Jai as well as his frustration that forces him to stick around with Jai in spite of being at loggerheads with him at almost all times. The only sore point was his delivery style, which could not be fixed as a Catholic from Bandra or a Muslim from Bhendi Bazaar – he needs to work on his dialogue delivery and fast.

Esha Deol in her cameo performance as a female thief impresses more with her looks than with her performance. However, it’s no secret that she has come a long way from her earlier days in the industry. Rimii on the other hand is wasted in an inconsequential role.

Music by Pritam is catchy and I would say that none of the songs appear forced in the narrative. Neither do they hinder the narrative of the movie nor do they lessen the impact of the movie. In fact, the title track of the movie is instrumental in moving the story ahead. I personally believe, this sort of incorporation of film music is more sensible and also desirable as any deviation from this modus operandi can lead to more opposition to film music as a genre and also sound it’s death knell. As it is, film music in thrillers is a tough call and very few directors are capable enough to incorporate music in a thriller, effortlessly.

Sanjay Gadhvi, the director impresses with the cutthroat pace of the movie. After a very long time, do we see a director who is comfortable with the idea of a thriller. The motor chases are all well executed and one has to really appreciate the director for attention to detail, especially in filming the chase sequences. Other than maintaining the pace, the director also captures in bold relief the mind and mindgames of two superb minds in a way that’s brilliant to say the least. The challenge scene between the two lead characters is as graphical as it can get, whereas the final meeting between the two of them is indeed mind-blowing. John and Abhishek go for each other’s jugular in the final confrontation and it’s to the credit of the director that the scene is not a sham at all.

I hope this director remains true to his talent and we are treated to more such brilliant movies in the future from the guy who gave us Dhoom.

So…. Friends…in the interim period … Dhoom Machale… Dhoom Machale… Dhoom.