Bhootnath Returns : A Rousing Return[/b]
Bhoothnath is one depressed ghost. Deeply humiliated at not having been successful at the one thing all ghosts manage so effortlessly scaring children he asks permission to descend from on high, back to earth, and go boo. Upon which he manages (once again, just like in the prequel Bhoothnath) to find the one little tyke who can see him, and off they go to find a fresh set of bhootiya adventures.
Sounds like fun? Sure, there is some nicely-done amusement to be had in Bhoothnath Returns and it is not all pandering to juveniles. Shortly after the standard levitating-in-the air-tricks by Bhootnath (Amitabh Bachchan) and his constant companion Akhrot (Parth Bhalerao), the plot arrives at the point where it sticks, and makes this one of the sharpest Bollywood critiques of the political system in the country. Correction. It could have been. The impact of the film is diluted by a central confusion in tone: is this a film for kids fronting a bumbling bhoot and loveable slum boy, or a tried-and-tested all-too-familiar Bollywood take on let’s-vote-the-bad-guys-out, and make Indian democracy a great place?
Evil neta Bhau (Boman Irani), accompanied by chief chamcha (Brijendra Kala) and faithful goons, is the epitome of all that is the worst in our politicians. He is cheerfully and relentlessly corrupt and rules over Akhrot’s slum with an iron hand. The bulk of the film deals with the issue of civic malaise, social injustice, and official apathy, and then zooms off to find solutions: these are heavy things, and the tone gets all muddled, between comic and serious, and then veers alarmingly towards drippy sentimentality.
Reprising his bhoot persona from the earlier film, Amitabh Bachchan gets much more to do this time around, and some of it is right up his long-jacketed sleeve. But Amitabh Bachchan can’t help being Bachchan, so we hear his shuddh Hindi with pure pleasure, and his tapori lines with a shrug. The best tapori, and the best thing, in the film is undoubtedly Parth Bhalerao, who keeps step with the veteran superstar naturally and easily.
In places, the film feels like a watered down Raju Hirani project but the director saves it in the nick of time. Of course it’s far removed from reality, but it feels good. Check this one out, it puts a smile in your face and gives a ray of hope.
Bhoothnath is one depressed ghost. Deeply humiliated at not having been successful at the one thing all ghosts manage so effortlessly scaring children he asks permission to descend from on high, back to earth, and go boo. Upon which he manages (once again, just like in the prequel Bhoothnath) to find the one little tyke who can see him, and off they go to find a fresh set of bhootiya adventures.
Sounds like fun? Sure, there is some nicely-done amusement to be had in Bhoothnath Returns and it is not all pandering to juveniles. Shortly after the standard levitating-in-the air-tricks by Bhootnath (Amitabh Bachchan) and his constant companion Akhrot (Parth Bhalerao), the plot arrives at the point where it sticks, and makes this one of the sharpest Bollywood critiques of the political system in the country. Correction. It could have been. The impact of the film is diluted by a central confusion in tone: is this a film for kids fronting a bumbling bhoot and loveable slum boy, or a tried-and-tested all-too-familiar Bollywood take on let’s-vote-the-bad-guys-out, and make Indian democracy a great place?
Evil neta Bhau (Boman Irani), accompanied by chief chamcha (Brijendra Kala) and faithful goons, is the epitome of all that is the worst in our politicians. He is cheerfully and relentlessly corrupt and rules over Akhrot’s slum with an iron hand. The bulk of the film deals with the issue of civic malaise, social injustice, and official apathy, and then zooms off to find solutions: these are heavy things, and the tone gets all muddled, between comic and serious, and then veers alarmingly towards drippy sentimentality.
Reprising his bhoot persona from the earlier film, Amitabh Bachchan gets much more to do this time around, and some of it is right up his long-jacketed sleeve. But Amitabh Bachchan can’t help being Bachchan, so we hear his shuddh Hindi with pure pleasure, and his tapori lines with a shrug. The best tapori, and the best thing, in the film is undoubtedly Parth Bhalerao, who keeps step with the veteran superstar naturally and easily.
In places, the film feels like a watered down Raju Hirani project but the director saves it in the nick of time. Of course it’s far removed from reality, but it feels good. Check this one out, it puts a smile in your face and gives a ray of hope.