Sanjay Dutt, Aditi Rao Hydari, Siddhant Gupta, Sharad Kelkar
Omung Kumar

A father protecting his child will always win hearts.  If the father is Sanjay Dutt, he will surely win over even the hardest dudes too. As a comeback film for our beloved Dutt – Bhoomi has been one of the most awaited films this week. Everyone wanted to know if Sanju Baba still has his swag! Good news being-  there is nothing that can dampen the Sanjay Dutt factor, bad news being – that’s the only good thing about Bhoomi.


We see a splendid father daughter relationship in the beginning of the film. There is Arun Sachdeva who is the typical burly guy with a sweet fragile looking daughter Bhoomi (Aditi Rao Hydari – whose dewy makeup should have come with tutorials).  All is well, until one fateful day the local goons turn their world upside. Shattered, the father daughter decide they won’t keep quiet against the atrocity. Predictable – given we have seen similar parent-daughter situations way too often with films like Drishyam, Maatr and Mom. Of course, since this is Sanjay Dutt we are talking about, Bhoomi - the film is treated with more grit and gore.


The film though has a linear script, it has some emotional and dramatic highs, but unfortunately it has some rather low lows too. For instance, the script drags way too much in the bid to make Sharad Kelkar menacing and Sanjay Dutt helpless. Given the fact that both these actors come from a very different strata of artists, it is not a fair fight. Despite Sharad trying to be his sinister best, you cannot pit him against Sanjay Dutt, no matter how old Dutt gets. Then there is Ms. Dewy Hydari who decided the best way forward is to look porcelain-pretty even in the face of scum. Perhaps the thought behind it was to make her look immaculate despite the treacherous hand fate deals her, but it made her look unaffected/unfazed which worked adversely in some portions of the film. However, nothing beats the highlight of the film – the climax. Despite the predictable ending, even the most restless couldn’t help but feel the emotion across the screen. Which in itself is a battle won. Having Omung Kumar as a director, you can be sure of one thing – each frame would look magnificent. In one sense, Kumar does a Sanjay Leela Bhansali and yet keeps it real instead of larger than life, fictitious. However, the film has its downs simply because the premise of the film is already done and redone way too many times. Even though the magnitude of this film is  greater and grander in the sense of filming it – the audience hasn’t got anything new out of it, which might be the very reason they will abstain from going to the theatres.  


Having said that, the film plays to its strengths. Sachin-Jigar’s music, the cinematography by Arthur Zurawski are some of the highs – both subtle and yet effective. Leaving an impression on all!

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