Home / Bollywood / #UKAsianReview: Singham Returns: Rom-Com? Socio-Political Thriller? Pot-Boiler? Which is it?

#UKAsianReview: Singham Returns: Rom-Com? Socio-Political Thriller? Pot-Boiler? Which is it?

Director Rohit Shetty is back to assault our cinematic sensibilities with his latest ‘brainless n’ brawny’ assured blockbuster.

Shetty reunites with his regular Ajay Devgn in this loud and lengthy schematic sequel to the 2011 hit which itself was a remake of a Tamil potboiler of the same name. 

When we last encountered hotheaded, no-nonsense, moody cop Singham, he was cleaning up the evil elements in Goa.

Three years later, Singham is now the Deputy Police Commissioner of Mumbai.Once again he is all set to sort out the dirty underworld of India’s ‘maximum city’.

When the perpetually sunglasses wearing Singham is framed by a fake Swami-ji (Amol Gupte), he has to clear his good name.

Singham’s modus operandi remains the same.

Do not mess with this unconventional cop as he has the ability to fly in the air and kick ass ‘Crouching Tiger meets The Matrix’-style. 

If you are stupid enough to offer him a bribe he will immediately plant some stinging slaps on you.  You see, he is an honest officer!  Just in case you missed the point.

He also has the ability to sway in slow motion accompanied by a soaring soundtrack, which screams his name.

When Singham is not busy blowing up cars, he has time to romance the self-styled ‘Lady Singham’ (Kareena Kapoor) who is a confused feminist.

At one point she calls for female empowerment and later she rebuffs the suggestion of going to a nightclub for a drink as somewhat immoral for a woman to do.

Unlike the marginally enjoyable original which was an over the top throwback to 80s Bollywood, this follow up has arty confused pretensions. 

Is it a romantic-action comedy? Is it a gritty socio-political thriller with a moral message? You are left wondering as serious issues are raised and never satisfactorily developed or clumsily resolved.

In addition to its dodgy feminist aspirations, it exposes the nexus between unholy Godmen, corrupt politicians and the police, so endemic to India, but this topical issue is reduced to moralistic patriotic shouting.   

Lead man Devgn shows off his buff body frequently emerging yet again topless from the water and gets to mouth clap-worthy dialogues.  Kapoor pouts perfectly. 

The mega-successful Shetty should stick to what he does best: making crude masala comedies, which cater to his assured largely young Indian male audience who readily lap up this masala-porn as popcorn entertainment.

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