As the curtains roll up, we’re launched to a haggard Sanjay Dutt, who regardless of the age and impending return to jail, is secretly excited to read his biography. One that he hopes will inform the “actual story” minus the “query marks”. Written by a sure Tripathi, he sits down together with his total assist staff and wife, to hear how the opening chapter attracts similarities to him and Mahatma Gandhi.
“Similar to how Gandhi had a stick and never used it, I (Sanjay Dutt) had a AK-56 rifle but by no means used it.”
Director Rajkumar Hirani and author Abhijat Joshi highlight the ridiculousness of the association, and resolve to do some injury management themselves, and make a biopic that lends Sanjay a Munnabhai tag, as a substitute. So, you watch him humiliate one in every of his girlfriends and her father, or cheat on his greatest good friend, however there’s by no means a way of regret or wrongdoing. As an alternative, the scenes are laced with humour and wit. Virtually, trivialising his shortcomings.
“I’ve had roughly 300-odd girlfriends… Or, let me spherical it off to 350, simply to be safe,” he chuckles, as the ladies within the scene grin. Or, when he cheekily tells his biographer that she’s fortunate he’s going to prison or else there would’ve been hassle. Therein, lies Sanju’s issues. It’s extra propaganda and laughs, and fewer facts.
“I’m Sanjay Dutt. And, I’m not a terrorist,” is what he often repeats, and would’ve labored as a title. Hirani by no means explores or delves deeper into the psyche of Dutt. You only see what Dutt needs us to see, focusing primarily on his strengths. Hirani resurrects Dutt as a worthy Munnabhai. One who’ll stroll away the hero, regardless of the mess he created.
His crimes are conveniently reduced to the media’s obsession with the question mark. And, nothing extra. Sadly, his life deserved a bit more grit, and perception.
But, Hirani manages to salvage among the injury, with a few standout moments. One where the father-son sit right down to hearken to the voice of the girl they each dearly liked, lengthy after she’s gone, is deeply transferring. Or, the one the place Sanjay yanks out a rest room seat cowl to garland a woman he dismisses for drugs is tackled with depth. Ranbir Kapoor also steps up the sport with his stellar efficiency. From the hair, to the costumes, to the physique, to the physique language, he effortlessly transforms into Sanjay Dutt. It may’ve slipped into mimicry, however Kapoor is much too proficient to let that occur. It’s when the credits roll, and he slips again to being himself that you just perceive how far he’s gone to change into Sanju.
Vicky Kaushal backs him up as his loyal buddy. Armed with a country twang, a ridiculous crimson coat and a coronary heart of gold, he’s pitch-perfect. And, there’s the stalwart Paresh Rawal, who lends dignity and grit to Sunil Dutt. It’s when the three men be part of forces that the true fireworks happen. The women brigade, nevertheless, shouldn’t be that impressionable. Every given roles that aren’t fleshed out. Nargis, performed graciously by Manisha Koirala, is rarely celebrated, and this when Sanjay is believed to have shared such a powerful bond with his mother. His spouse Maanyata, performed by Dia Mirza, can be pretty bland. And, Anushka Sharma is handed one other unusual wig, after ‘PK’, and eye lenses to play the biographer.
At 161 minutes of display time, Hirani manages to present Sanju an enormous ‘jaddoo ki jappi’, like no other, and one that can certainly win over many hearts. However, does that validate the misgivings of a fallen star? I don’t think so.