Film: Satyameva Jayate
Cast: John Abraham, Manoj Bajpayee, Aisha Sharma, Manish Chaudhary, Amruta Khanvilkar¸Tota Roy Chowdhury
Director: Milan Milap Zaveri
Rating: * *
An old-fashioned vigilante justice enterprise that takes incendiary to inflammable heights, this John Abraham vehicle is disjointed and unjustified in its attempt to build-up a valid rationale for a mentally unhinged man’s reprehensible actions. Imagine this- A hooded man goes about burning up corrupt cops at will in a city like Mumbai and the protectors led by ACP Shivansh Patil (Manoj Bajpayee) fail to make any headway on the case.
The film opens with a conflagration, an incantation to divine justice and some stirring dialoguebaazi of the archaic kind. Thereafter its cat and mouse game playing with Shivansh running around in circles while the antagonist gets bolder, charring corruption stained khakhee clad bodies till its time for the main villain to get exposed.
The narrative is tediously predictable, doesn’t make any sense and has the standard dose of hand-to-hand combat fights. It’s a fierier ‘Deewar’, but without the sense, sensibility or the passion to make it plausible. The brother versus brother fight fails to shed light on any new dynamic. While the conflict is resolute, the impression is not. It seems stale and we have definitely seen much better before. The choppy editing allows for scenes to pop out without reference and the narrative plays along as though its all meant to be.
A few political asides don’t make this antiquated and inept flashback into a glorious past, anymore contemporary. As expected, John gets to expose his body but its sheathed in blood and gore. His acting skill limits itself to giving us a haunted, recriminatory bloody-eyed look as though saying “I’ll get you too! ”All through the film, we are intermittently treated to that look interspersed with gratuitous offerings of blood, gore, and burnt flesh.
It might have been interesting to learn more about the lives of the tragically orphaned brothers in the interim years between their father’s suicide and their current confrontation. But that’s left as a total blank here. The scripting is piecemeal, intent on allowing Veer(Abraham) a free run through the entire Mumbai police force. He picks and chooses his victims at will and there’s no one to stop him.
The background score is the connecting tissue, working up a wailing crescendo to heighten the largely flagging experience. Nora Fatehi’s belly-dance to a remixed ‘Dilbar’ doesn’t work up a storm either. Macabre jokes, dialogues in poor taste, a heroine who pops out of nowhere, unoriginal tropes, cliché ridden set-pieces and flat performances render this senseless, absurd anti-corruption drama, totally implausible.
The repetitive incendiary messaging reduces Milap Milan Zaveri’s peculiar creative effort to callous and irresponsible. The trivialised portrayal of suicide and the glorification of vigilantism leaves a bad taste. This one is both offensive and off-putting, to say the least!