SINGH SAAB THE GREAT 3 stars
Anil Sharma & Sunny Deol --- the names behind one of the biggest hits of Hindi cinema -- Gadar - Ek Prem Katha. Time and again, he reinvented the man with "dhai kilo ka haath", be it The Hero: Love Story of a Spy or Apne. But what has been treated as the comeback vehicle for the duo, after the debacle of Veer and Yamla Pagla Deewana 2, respectively for Anil Sharma and Sunny Deol, is laced with clapworthy dialogues, radical confrontations, hi-octane drama and of course, the macho Sunny's might to surmount the subjugators. Singh Saab The Great is the most novel masala attempt of recent times. The director has a clear vision of an Indian crusader, though the waggly screenplay tends to make you hapless at times, but the movie has it all in trademark Anil Sharma style, that could even be noted as the sequel of Gadar - Ek Prem Katha in terms of soliloquy about religion and righteousness.
With not anything maiden to look forward to in the storyline, the movie is a homage to the cinema of the 1980s when Sunny was the daredevil laid down to bring on a social reclamation.
The story indeed has its heart and *haath* in the right place. Director Anil Sharma and writer Shaktimaan Talwar enswathe the film with all sorts of ingredients that connect with the masses pronto. Sunny Deol’s turban-clad Avatar will be received with claptraps by the viewers. Singh Saab‘s story is comprehensively ingenious, which widens its reach for every kind of audiences. The movie maintains a substantial grip on emotions and sentiments homogeneously. Confrontations are fiery consummately, especially the one when Sunny and Prakash Raj meet for the very first time or the one when Sunny throws Prakash Raj in the fire, following the interval. The larger than life stunts by Kanal Kannan and Tinnu Verma suit the Lion called Sunny Deol and the writer makes sure to capitalize on this. When he loves, he loves hard; when he hits, he hits harder; but when he roars, he roars the hardest. No one but Sunny can convey action better through eyes. S Gopinath (DoP) lends dexterous support. The whole team should be appreciated in making a socially conscious and relevant film. The preachings by Guru Gobind Singh, Mahatma Gandhi, Vivekananda and Bhagat Singh build the base of all the trials of Sunny Deol, which are thought-provoking consummately. Dialogues are bound to be loved by the masses. They are hard-hitting.
On the flip side, the romantic angle and the intimate scene between Sunny and Urvashi Rautela are tad awkward (She's showing enough of her back for Sunny to kiss every five minutes in the first half of the film and she is limited to merely a glamourized prop, except the scene of her death), the songs (Anand Raj Anand and Sonu Nigam) are forced, terrible and loud & the choreography (Rekha and Chinni Prakash) is vulgar, the lyrics (Anand Raj Anand, Rakesh Kumaar and Sameer Anjaan) are tacky, the run time (Editor - Ashfaq Makrani) should be trimmed down by a good 20 minutes and lastly the intention of the Badlaav take a backseat as the movie comes to its end because ultimately the movie is cliched of being a masala affair.
Sunny Deol (Collector Saranjeet Talwar/Sunny/Singh Saab) is the only macho man of Bollywood who is most apt for roles where he needs to illustrate muscle power to slay the goons. He beats the living daylights out of villains. He is solemn in his vehement role. The masses would go gaga as he delivers mighty dialogues in his pre-eminent trademark style. The debutante Urvashi Rautela (Minni) is evidently drop dead gorgeous but she has nothing noticeable to offer except her emotions in the hospital scene, following her death. Amrita Rao (Shikha Chaturvedi) enacts the role of a carking and truth-seeking Tezz Aaj Tak news reporter with gusto but her Hindi heartland accent is all-out annoying. She leaves a solid impact in the penultimate moments. Anjali Abrol (Guddi) is competent, playing the role of Sunny's lone younger sister. Alan Kapoor (Guddi's husband) is there only. Johny Lever is entertaining and loud as ever. Rajit Kapoor, Sanjay Mishra, Yashpal Sharma, Manoj Pahwa, Shahbaaz Khan, and Aseem Merchant don't get much scope to show what real talents they possess. The kid enacting the part of Sunny's nephew is cute. And last but not the least, Prakash Raj (Bhoodev Singh) is menacing, dispiteous and has shown that evil spark in every single frame. Since Singham, Bhudev is absolutely despicable but the viewers could feel pity for him when they see his attachment to his daughter, specifically in the climax. He is phenomenal while mouthing evil in the dialect of U.P. He is getting typecast but still he is the most dreaded villain of recent times. What a talent he is! Without him enacting villainy, Sunny would not have been such impactful.
On the whole, Singh Saab The Great has its moments for each and every section of the society. Right from the pummeling duels to the potent message, the movie is satiating. Welcome back the indomitable duo for what they are -- Anil Sharma and Sunny Deol. A Great film for typical Sunny Deol fans. Not-to-be-missed.
Anil Sharma & Sunny Deol --- the names behind one of the biggest hits of Hindi cinema -- Gadar - Ek Prem Katha. Time and again, he reinvented the man with "dhai kilo ka haath", be it The Hero: Love Story of a Spy or Apne. But what has been treated as the comeback vehicle for the duo, after the debacle of Veer and Yamla Pagla Deewana 2, respectively for Anil Sharma and Sunny Deol, is laced with clapworthy dialogues, radical confrontations, hi-octane drama and of course, the macho Sunny's might to surmount the subjugators. Singh Saab The Great is the most novel masala attempt of recent times. The director has a clear vision of an Indian crusader, though the waggly screenplay tends to make you hapless at times, but the movie has it all in trademark Anil Sharma style, that could even be noted as the sequel of Gadar - Ek Prem Katha in terms of soliloquy about religion and righteousness.
With not anything maiden to look forward to in the storyline, the movie is a homage to the cinema of the 1980s when Sunny was the daredevil laid down to bring on a social reclamation.
The story indeed has its heart and *haath* in the right place. Director Anil Sharma and writer Shaktimaan Talwar enswathe the film with all sorts of ingredients that connect with the masses pronto. Sunny Deol’s turban-clad Avatar will be received with claptraps by the viewers. Singh Saab‘s story is comprehensively ingenious, which widens its reach for every kind of audiences. The movie maintains a substantial grip on emotions and sentiments homogeneously. Confrontations are fiery consummately, especially the one when Sunny and Prakash Raj meet for the very first time or the one when Sunny throws Prakash Raj in the fire, following the interval. The larger than life stunts by Kanal Kannan and Tinnu Verma suit the Lion called Sunny Deol and the writer makes sure to capitalize on this. When he loves, he loves hard; when he hits, he hits harder; but when he roars, he roars the hardest. No one but Sunny can convey action better through eyes. S Gopinath (DoP) lends dexterous support. The whole team should be appreciated in making a socially conscious and relevant film. The preachings by Guru Gobind Singh, Mahatma Gandhi, Vivekananda and Bhagat Singh build the base of all the trials of Sunny Deol, which are thought-provoking consummately. Dialogues are bound to be loved by the masses. They are hard-hitting.
On the flip side, the romantic angle and the intimate scene between Sunny and Urvashi Rautela are tad awkward (She's showing enough of her back for Sunny to kiss every five minutes in the first half of the film and she is limited to merely a glamourized prop, except the scene of her death), the songs (Anand Raj Anand and Sonu Nigam) are forced, terrible and loud & the choreography (Rekha and Chinni Prakash) is vulgar, the lyrics (Anand Raj Anand, Rakesh Kumaar and Sameer Anjaan) are tacky, the run time (Editor - Ashfaq Makrani) should be trimmed down by a good 20 minutes and lastly the intention of the Badlaav take a backseat as the movie comes to its end because ultimately the movie is cliched of being a masala affair.
Sunny Deol (Collector Saranjeet Talwar/Sunny/Singh Saab) is the only macho man of Bollywood who is most apt for roles where he needs to illustrate muscle power to slay the goons. He beats the living daylights out of villains. He is solemn in his vehement role. The masses would go gaga as he delivers mighty dialogues in his pre-eminent trademark style. The debutante Urvashi Rautela (Minni) is evidently drop dead gorgeous but she has nothing noticeable to offer except her emotions in the hospital scene, following her death. Amrita Rao (Shikha Chaturvedi) enacts the role of a carking and truth-seeking Tezz Aaj Tak news reporter with gusto but her Hindi heartland accent is all-out annoying. She leaves a solid impact in the penultimate moments. Anjali Abrol (Guddi) is competent, playing the role of Sunny's lone younger sister. Alan Kapoor (Guddi's husband) is there only. Johny Lever is entertaining and loud as ever. Rajit Kapoor, Sanjay Mishra, Yashpal Sharma, Manoj Pahwa, Shahbaaz Khan, and Aseem Merchant don't get much scope to show what real talents they possess. The kid enacting the part of Sunny's nephew is cute. And last but not the least, Prakash Raj (Bhoodev Singh) is menacing, dispiteous and has shown that evil spark in every single frame. Since Singham, Bhudev is absolutely despicable but the viewers could feel pity for him when they see his attachment to his daughter, specifically in the climax. He is phenomenal while mouthing evil in the dialect of U.P. He is getting typecast but still he is the most dreaded villain of recent times. What a talent he is! Without him enacting villainy, Sunny would not have been such impactful.
On the whole, Singh Saab The Great has its moments for each and every section of the society. Right from the pummeling duels to the potent message, the movie is satiating. Welcome back the indomitable duo for what they are -- Anil Sharma and Sunny Deol. A Great film for typical Sunny Deol fans. Not-to-be-missed.
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