SOORYAVANSHI - Repeats everything familiar with the cameos being the only saving grace in its long action-packed climax. (Review By Bobby Sing)

A Rohit Shetty film is known for its typical entertainment following the set format of Hindi cinema, focusing on loud drama, style, songs, and action. The viewers are very well aware of what they are going to get in his 150 minutes of presentation, but also expect something novel in the director’s every new project keeping the excitement alive.

 

Sadly, that is one key aspect of Sooryavanshi, in which it miserably fails to deliver as per the expectations. The much-awaited project hasn’t got even one fresh sequence in its entire duration, and the writers keep borrowing from similar movies, repeating the same old things. The only novelty in the film is the inclusion of Ranveer Singh and Ajay Devgan in the end, and that remains the saving grace, giving you a partial return for your money in terms of the promised entertainment. 

 

Offering almost nothing till the interval, the film keeps beating around the bush with all familiar, seen before sequences related to police, terrorists, and their planned attacks (apart from the usual love affair and family drama). Despite having a potential plot of the mystery involved in the hidden consignment of explosives, the script makes no use of the interesting premise and doesn’t even care to exploit it as a thrilling investigative crime drama. A few action sequences stand out in the first half, along with the stunning Katrina, but the narrative remains routine, entirely focusing on Akshay and his style quotient. The icon looks great moving in the slow-motion shots, but the age has started showing in the close-ups. Proving his worthy presence, only Gulshan Grover manages to leave a noteworthy impact in his one scene in the entire first half, but that too gets marred by the forced politicisation, bringing in the Hindu-Muslim conflict, strongly reminding you of the similar dialogues in the film Sarfarosh (1999).

 

Post interval, the energy-less repetitions continue, including a forcibly inserted song showcasing the desperation of the makers. The poor replica of Tip Tip Barsa Paani track from Mohra (1994) falls flat both in terms of music and visual presentation playing to the galleries. Thankfully, a well-shot chopper action sequence and Gulshan returns to rescue the film offering some engaging moments. Gulshan’s arrest and interrogation sequences work, but the forced preaching doesn’t. Plus, in this specific section, the film heavily borrows from Akshay’s earlier cop movie Aan: Men at work (2004) and its sequences featuring the clash with Irrfan Khan. The scene of a police officer getting killed on duty also reminds you of Aan and its far superior execution.

 

After two largely disappointing hours and all superficial secular feeding, Sooryavanshi goes back to the ‘80s jaded climax in which the villains bring in the woman strapped with ticking bomb and the hero gets timely help from the two other stars in the cast. Playing his only ace, here Rohit brings in Ranveer and Ajay, storming the screen in their individual sequences and the film gets its much-required lease of life through their entertaining acts.

 

Stating the fact, it is this last section of Sooryavanshi and a catchy background score that successfully saves it from becoming a big disappointment. Otherwise, it remains a plain average film full of cliches, offering the same old content in return for the increased priced ticket bought in these tough times.
 

On a concluding note, the experience of watching Sooryavanshi along with the excited audience (visiting the theaters after a long wait), also made me realize that when you have not been served any food for weeks, then even the repetitive Daal and Roti tastes delicious to the starving taste buds. Then one just grabs whatever is fed, appreciating the attractive packaging.
 

Besides, Hindi cinema is also a textbook example of ‘You get what you keep applauding and appreciating’. If one doesn’t mind clapping and cheering for the same old things happening on the screen, already seen umpteen times before in several earlier movies, then the makers will keep on making such projects without trying anything fresh or inventive, playing it safe. Perhaps this assurance of public response is the reason, Rohit hasn’t given much emphasis to any story or writing in this film that happens to be quite weak except the climax.

 

Interestingly, in the last year of lockdown and OTT exposure, a lot of viewers complained about Hindi cinema being far behind the much progressive and inventive Indian regional language cinema. However, it was surprising to see the same voices that strongly pointed towards the poor and monotonous structure of our mainstream movies, were also the ones cheering and appreciating the new Rohit Shetty film. 

 

Now, the question arises that if we are praising Sooryavanshi, then what we were complaining of?
The film perfectly serves us and our sensibilities well.

If the majority here loves the same content being presented again and again with different toppings led by their favourite stars, then the makers are very right in their act and are not at any fault.

 

But then one shouldn’t complain saying that Hindi cinema cannot compete with the unbelievable excellence achieved by the Indian Regional Language cinema even in the mainstream movies (forget the experimental, inventive films). 

 

Hindi cinema cannot compete because we don’t support, allow or compel it to grow and excel coming out of its decades-old worn-out shell. 

 

Here we go on celebrating dated, unimpressive films, and they go on making it again, knowing us really well.

 

Rating: 1.5 + 1 / 5 (with the additional ONE for the well-conceived actions sequences and Gulshan Grover, who remains the last powerful villains of our cinema, that once used to come up with many iconic roles for the Bad Men)