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Dhaakad Is A Listless Mixtape of Western Feminine-Agent Thrillers

Director: Razneesh Ghai
Writers: Chintan Gandhi, Razneesh Ghai, Rajiv Menon, Rinish Ravindra, Ritesh Shah
Forged: Kangana Ranaut, Arjun Rampal, Divya Dutta, Sharib Hashmi, Saswata Chatterjee

I keep in mind being satisfied with the headline of my Revolver Rani overview: Paan Singh Tarantino. There was a cool Strolling-Dhulia-Speaking-Tarantino ring to it. The Chambal-set ‘Spaghetti Jap’ starred a post-Queen Kangana Ranaut doing the rugged cowgirl routine to uneven impact. The movie didn’t do too effectively. So eight years on, Ranaut is again with one other female-led conquest of a male-dominated motion template – besides this time, it’s Strolling-Tarantino-Speaking-Tarantino-Sleeping-Tarantino-Smoking-Tarantino. Half of Dhaakad is shot in Budapest, the opposite half in Bhopal. However the narrative fashion, remedy and characterization are combed from half a dozen Hollywood female-assassin thrillers, together with however not restricted to Atomic Blonde and Purple Sparrow. The listless and spinoff motion flick is a missed alternative, as a result of it’s centered solely on its brooding super-agent – sans romantic tracks, male saviours and nationalistic fervour – in a movie trade that writes ladies spies as both token eye-candy, supporting acts in a hero story or undercover honeytraps. The intent is appropriate, however the execution leaves quite a bit to be desired. 


In Dhaakad – and I’m going to write down this overview with out utilizing the time period “badass” – Kangana Ranaut performs Agent Agni (and vice versa), a ferocious one-woman military who slices by tons of of dangerous males and units her sights on the mysterious kingpin of a world human trafficking racket. His identify is Rudra Veer, performed by the forever-interesting Arjun Rampal with a Joker-meets-Godfather voice and the campy menace of his Ra.One avatar; his accomplice, Rohini, encompasses a cigarette-chewing Divya Dutta hamming it up with equal ferocity. The movie opens with bleak Budapest by night time, which jogged my memory of Pressure 2, whose antagonist (performed by Tahir Raj Bhasin) broke out with Mardaani, a cop-chasing-trafficker drama closest to Dhaakad when it comes to premise. I’m undecided why I made that connection, however I simply did. 

This agent, named after the Hindu hearth goddess, is haunted by recollections of her childhood, the place she noticed her dad and mom being murdered by a goon who for some purpose sang a nursery rhyme that’s caught in her head. So she spends her nights between missions – one in all which concerned being ambushed by faceless Hungarian ninjas – consuming, stapling her personal (literal and figurative) wounds, smoking, sleeping and pulling out of intercourse as a result of deep-rooted trauma. Agni is the archetypically damaged motion hero, who’s then tasked by her stepfather-cum-boss (Saswata Chatterjee) to go to India and collect info on the super-villains. Agni fears India, however she goes anyway, and her first expertise out of the airport requires her to neutralize two bag-snatchers with the dexterity of a hip-hop transfer. This proves that, east or west, she is to not be messed with. A fellow agent (Sharib Hashmi) assists her, however he’s actually a lifeless man strolling as a result of he has a cute little daughter who’s destined to be Agni’s last trial by hearth (agnee-pareksha). 


The second half opens with an limitless shootout at a quasi-Afro coal yard, with aesthetically positioned flames and youngster troopers burning vivid sufficient to set the stage for Agni’s inevitable back-from-the-dead section. At one level, a physician informs her boss that Agni acquired fortunate as a result of “her coronary heart factors in direction of the precise” – a uncommon medical situation that additionally doubles up as a spiky off-screen metaphor. The movie itself is all too tropey and acquainted, as is her last face-off with raspy Rudra, to not point out the ultimate twist that comes as no shock to anybody who wonders what kind of company recruits grief-stricken kids and mines their trauma to make them lethal assassins. Or worse, what kind of company declares their staff lifeless with out double-checking their pulse. Naam Shabana apart, illustration on this sub-genre is so low that Hindi films like these are sometimes lauded for merely present. But, by the tip of Dhaakad, all of the prosthetics and wigs, bombs and bullets quantity to little greater than an identity-less B-grade blur. Budapest is not going to be happy.

Gang Lucha
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