PremiumBaby John review: Varun Dhawan's actioner crawls through clichés only to get stuck in its cradle
In Baby John, Varun Dhawan shines in parts, but the film ultimately falls flat.
Last Updated: 09.34 AM, Dec 25, 2024
Baby John's story:
After DCP Satya Verma IPS (Varun Dhawan) murders Babbar Sher's (Jackie Shroff) son for a serious crime, the two become embroiled in a power struggle that ends with Babbar destroying Satya's family. Since his daughter Khushi (Zara Zyanna) is the only one who managed to escape, Satya pretends to die so he and Khushi can live a quiet life in Kerala as Baby John. Satya takes vengeance on Babbar Sher and protects Khushi after the latter threatens his tranquil life upon learning of his existence.
Baby John's review:
Baby John has been watched! Varun Dhawan describes the film as a Hindi adaptation of the 2016 Tamil film Theri and not a remake. Speaking about the Vijay starrer, the film marked a significant milestone for Atlee, who had made his directorial debut with Raja Rani (2013) three years prior. When they collaborated, the actor was already one of the leading stars in the Tamil industry and boosted the filmmaker's career beyond expectations, leading to them collaborating twice again later. Many questioned Theri for its cliché subplots when it first came out, but the melodramatic sequences made the film stand out and propel it toward becoming a blockbuster. Is that the same fate that "Baby John" will face? Let's find out...
When we watch a remake or so-called adaptation, it always comes with challenges for the people who have also seen the original. A couple of days ago, I revisited Theri in anticipation of the release of Baby John to assess the film's scene-by-scene translation into Hindi and its potential relevance in today's world. Sadly, the efforts seem futile.
Unlike Theri, where a rape case serves as the central plot point, Baby John explores human trafficking as a precursor to the aforementioned crime. However, Jackie Shroff portrays the villain as a notorious gangster who disregards personal hygiene, even when he sleeps on wads of currency notes. The shift from a clean, white-attired politician to a menacing-looking villain may have been intentional, but regrettably, it's a negative effect.
At its core, the film relies heavily on a predictable and clichéd revenge plot. The story of a righteous cop avenging personal tragedy is a well-worn trope we have also seen in Bollywood, and Baby John does little to break new ground in this regard. Although the story occasionally dabbles in flashback sequences, the narrative's familiarity and linear progression often rob the film of genuine surprises, making it feel like a rehash of countless action dramas before it.
When it comes to the emotional quotient, the sequences between Varun and his onscreen daughter Zara are heartwarming to watch, but when the dialogue begins, it falters. Why so? If Atlee, who worked with Kalees and Sumit Arora this time, penned the story, it resembled a dubbed version of Theri. Reuben's patchy editing, which partially worked for Theri, didn't work here, despite translating almost every line and fixing every angle in the same way.
The 2023 blockbuster Jawan extensively introduced Bollywood to the world of Atlee. The film blended well with the sensibilities of Bollywood, all thanks to the presence of Shah Rukh Khan. Despite having the flavour of Tamil movies, it excelled due to its deep exploration of political relevance.
When it comes to Baby John, the storyline remains relevant, but in the eight years since the original release, numerous films and series have tackled this subject, with many succeeding admirably. Despite Varun's potential as an action star, his constant pomposity in every film prevents him from achieving his full potential.
Nevertheless, if the film resonated with me in any way, which was minimal, it was largely due to the actor's efforts in transforming himself into two distinct characters who alternately take charge.
Like his mentor, Kalees prioritises style over substance, heavily relying on glossy visuals, slick action choreography, and high-octane heroism—sometimes to the detriment of logical consistency. Every scene of Varun seems like an entry scene, which has become such a norm in the South film industry that it has begun creeping in here too.
Varun's invincibility in combat and the ease with which he orchestrates his new life after faking his death, along with the disjointed screenplay, further hinder the film's believability. These moments, despite their attempt to be entertaining in isolation, undermine the film's realism and emotional gravity.
If it's an adaptation, a slight course correction would have been beneficial, as Baby John's reliance on stereotypical tropes weakens its narrative. The film largely relegates women characters, particularly Meera (Keerthy Suresh) and her daughter Khushi, to roles that serve the hero's arc, rather than allowing them to exist as fully realised individuals. Although I anticipated a twist in Theri regarding the character of the second lead, I wasn't surprised when it happened here. With regards to Tara (Wamiqa Gabbi), all said and done, even though her character doesn't help in any way, even with the twist, nor did her performance elevate with her big screen presence like she earlier did with her web series.
Keerthy Suresh's role is crucial to Varun's character's emotional journey. However, the limited role of her character, primarily in flashbacks, leaves little room for meaningful development. So much for a Bollywood debut, which leaves no space to leave an impressive mark, so to say.
Despite Jackie Shroff's restrained performance as the antagonist, the one-dimensional writing of his character disappoints. His motivations remain shallow, making him a forgettable villain in an otherwise emotionally charged narrative.
While the first half blends action, romance, and emotional moments effectively, as the second half begins, it's just prolonged, making it feel stretched and uneven. The jarring transitions between emotional flashbacks and present-day action sequences often disrupt the flow, leaving me more struck by the patchy and hurried editing than the screenplay or on-screen content. Additionally, Kalees adheres to Atlee's penchant for melodrama, which occasionally overpowers the storytelling, resulting in certain emotional scenes feeling forced rather than organic. The literal translation of the dialogues, even during the comedy sequences, is the sole reason this occurred.
The film features a scene where Rajpal Yadav, an actor with a deadpan face, declares, "Comedy is a serious business," eliciting enthusiastic applause from my fellow critics. However, the makers merely intended the statement as an effect, without actually implementing it in any way.
Baby John thrives to shine in flashes but doesn't quite set the screen ablaze.
Baby John verdict:
Baby John tries to rock the cradle of Bollywood with South Indian masala but ends up crying over spilt milk. While Varun Dhawan flexes his dual avatars, the film crawls in its crib of clichés, unable to walk the tightrope between style and substance.