At a pivotal moment in Baby John, Rajpal Yadav’s character, the comedic sidekick, delivers the film’s most memorable line: “Comedy is serious business.” It’s a sentiment that resonates because, ironically, it’s one of the few moments to elicit genuine laughter in a film otherwise rife with misplaced punches, both literal and metaphorical. This single dialogue stands out, overshadowing even the hero’s catchphrase, “Par main toh pehli baar aaya hoon,” which fails to make any lasting impression.
Bloated Runtime and Derivative Storytelling
Clocking in at a grueling 164 minutes, Baby John struggles to justify its runtime. The film, a remake of Vijay’s 2016 Tamil hit Theri, aspires to bring South Indian masala to Bollywood, but the execution falters at every step. Director XYZ, known for assisting Atlee, throws everything into the mix — action, drama, and emotion — but little of it sticks.
The story follows Baby John (Varun Dhawan), a seemingly ordinary man living in Alappuzha, Kerala, with his adorable daughter, Khushi (played by Zyanna). The tranquil setting is disrupted when they cross paths with a nefarious flesh-trading ring led by Babbar Sher (Jackie Shroff). As the narrative unfolds, we learn that Baby John is actually DCP Satya Varma, a former cop with a tragic past involving his lost sweetheart (Keerthy Suresh) and his loving mother (Sheeba Chadha).
Weak Performances and Miscast Leads
Varun Dhawan, attempting to emulate the swagger and intensity required for such roles, falls short. While the camera captures his slow-motion struts and fight sequences with precision, his comedic timing and emotional range feel out of place. Dhawan, better suited for light-hearted roles, struggles to embody the gravitas needed for a masala hero.
Jackie Shroff as Babbar Sher, the antagonist, is equally unconvincing. Despite his menacing demeanor and quirky touches (like a haldi-coated face), his character lacks depth. For a more compelling performance as a villain, viewers are better off revisiting his role in Aranya Kaandam (2010), a Southern cinema classic.
Overloaded Action and Sensory Fatigue
The film’s action sequences, while plentiful, border on the excessive. From fights in shipping docks to chaotic battles in warehouses, the violence becomes monotonous and desensitizing. Blood spurts, limbs flail, and bodies crumble, but the lack of novelty in these set pieces renders them forgettable.
Familiar Tropes and Predictable Plot Points
Baby John borrows heavily from previous Bollywood and South Indian blockbusters, creating an amalgamation of clichés. The father-daughter dynamic recalls Shah Rukh Khan’s Jawan, while the hero’s dual identity as a commoner and a cop is a staple of masala cinema. Even the climactic revelations and emotional beats feel recycled, leaving the audience with a sense of déjà vu.
The Problem with Bollywood’s Masala Aspirations
Masala films, when done right, can be a celebration of over-the-top entertainment. The success of Pushpa 2: The Ruledemonstrates the appeal of well-executed masala. However, Baby John serves as a cautionary tale of what happens when such films lack coherence and originality. While Pushpa offers rhythmic storytelling and charismatic performances, Baby John delivers a disjointed narrative and lackluster acting.
Final Verdict
Baby John had the potential to be a thrilling addition to Bollywood’s masala repertoire but ends up as one of the most disappointing films of 2024. With its derivative plot, weak performances, and bloated runtime, the film feels more like a chore than an entertainer. For those seeking compelling masala cinema, revisiting classics or exploring well-crafted South Indian films might be a better use of time.
Rating: 1.5/5
Highlights:
- Rajpal Yadav’s occasional comic relief.
- Zyanna’s charming portrayal of Khushi.
Lowlights:
- Over-reliance on clichéd tropes.
- Excessive runtime with poorly paced storytelling.
- Miscast lead actor and underwhelming antagonist.
Baby John may try to deliver a punch, but it misses the mark entirely.