4 stars
Dhoom series, that rendered emanation to street racing on exotic locales, bike-borne theft, stunting on public roads, never-seen-before action sequences, glam quotient, hi-tech heists, breathtaking hi-speed chases and non-stop laughter with excitement, have an epochal efficacy betwixt urban Indian youth. Dhoom (2004), a light footed caper that became a runaway hit, was the first action film produced by Yash Raj Films in 16 years, since Yash Chopra directed Vijay (1988). Then came Dhoom:2 (2006) and this time, the cops and robbers set up hid a love story within its folds. It too had a dream run at the box office and created a potential mine field of expectations and inadvertently, Yash Raj Films had become their own biggest competitors. So now, they are here with Dhoom:3, with a very emotionally moving script. Saying that expectations are sky rocketing, would seem like an understatement. Triggering off a new trend & adding to the hugger-mugger of the film, Aamir's decision of not visiting malls and other public forums (TV shows, events) amalgamated with YRF's strategy of releasing only 30-sec teaser of the songs, not entire songs, doesn't quite seem to backfire. Plus, with hardcore commercial film a la Dhoom:3, Aamir Khan is entering the larger than life and over the top genre of Bollywood. Believed to be made on an extravagant budget, Dhoom 3 is the first Bollywood movie to be released in the IMAX format. The film is also being released in Dolby Atmos.
Storyline is not so profound. Sahir (Aamir Khan) is on a mission to rob all the money of the Western Chicago bank, due to which Sahir's father (Jackie Shroff) took his life. He runs his father's circus along with Aaliya (Katrina Kaif). ACP Jai Dixit (Abhishek Bachchan) and his aid Ali Akbar (Uday Chopra) pay a call on Sahir, to stop him. Thereupon starts a cat-and-mouse game. The bewitching robbing sequences and boisterous stunts don't obliterate the interest into the flick throughout with adrenaline pumping twists entwined in the plot. A pat on the back of the director for coming up with such BRILLIANTLY MUSHY climax.
On the flip side, the makers enjoy the cinematic liberty of keeping the introductory Jai & Ali's coming to Chicago scene unexplained, without any previous links or so, merely because the thief is an Indian. The first half is strictly not for those who rely on logic. The pace dips in the second half, which is followed by a romantic number. Though the romantic song is set on a large canvas & is ravishing but the run time seems to be outspread.
Yash Raj Films boasts of covetable crew, inter alia, and same is the scene with D:3. Screenplay/Story/Dialogues by Vijay Krishna Acharya are synchronous and nimble. After all, he has in-depth lore of Dhoom franchise. Ritesh Soni's editing is skittish. The supporting casts have been worthily casted by Rita Powers & Shanoo Sharma. Joel Hynek's picturesque VFX is spectacular with able support from Kotamraju Karthik (Visual Effects Coordinator). Adri Siriwatt's art direction and Sumit Basu's production design are *not* short of never-seen-before in Bollywood films till date. That too holds true for Manoshi Nath, Rushi Sharma & Anaita Shroff's costumes. Zsofia Otvos & Martina Sykes' makeup department concatenates with the art of such a grandiose movie to make the experience remarkable. Kurt E. Soderling's aerial photography & Sudeep Chatterjee's cinematography portrays Chicago, Zurich, Mumbai & Ticino in never-seen-before avatar, which is overwhelmingly impressive. Conrad Palmisano & Sham Kaushal's astir stunts are evidently dapper, raising goosebumps and keeping the audience hooked without even letting them blink for a jiffy. Nick Beyeler & Joe Dryden (body doubles: Amir Khan/Sahir), Emily Brobst (stunt double: Siddhartha Nigam), Shawnah Donley (stunt double: Katrina Kaif), Jef Groff (stunt double: Abhishek Bachchan) and Webster P. Whinery Jr. (motorcycle stunts) are namable.
Dhoom series, has always vaunted of blockbuster, all or quite the go music from the ever bona-fide chartbusting music director, Pritam. Without delving much into the picturisation of the songs, the music is a winner all the way. The Dhoom:3 version of the iconic title track ''Dhoom Machale'' (Lyrics: Sameer Anjan; Singer: Aditi Rao Sharma), is already a chartbuster, but only in parts, it matches up to its predecessors. The aristocratic ''Malang'' (Lyrics: Sameer Anjan; Singer: Siddharth Mahadevan & Shilpa Rao), has spanking fusion of sufi and rock, camouflaged in an Arabic, Western and Hindustani background with Dhoom signature tune in semi-classical 'alaaps'. Professionally trained gymnasts were flown in from the United States and trained in Mumbai for 20 days. ''Malang'' is the most expensive song in this movie. Around the central theme of gymnastics, this song has over 200 dancers in the frame. ''Kamli'' (lyrics: Amitabh Bhattacharya; Singer: Sunidhi Chauhan) is a fine mix of Urdu, Punjabi and simple Persian with Western arrangement and lyrics as the USP of the track. Keeping in mind the larger than life characters of the leads, ''Tu Hi Junoon'' (Lyrics: Kausar Munir; Singer: Mohit Chauhan), the love ballad, is in a high tempo, has some nice soft rock touches and soulful melody but is bare ordinary, even the chorus is not addictive or rhythmic and appears to be more of a pop/rock concert song. Then there is this Julius Packiam composed track "Bande Hain Hum Uske'' (Lyrics: Kausar Munir & Vijay Krishna Acharya; Singer: Shivam Mahadevan and Anish Sharma), which is strictly situational a la Taare Zameen Par (2007) mode. It is a standalone number. "Dhoom Tap", instrumental, (Music: Julius Packiam) is obviously the highlight conformation. It's a blazing annexation of high tempo rock, tap dance sounds and the awesome Dhoom signature tune that has been brilliantly applied to convey the feeling of horripilation. The cineastes will have a rollicking time confronting Vaibhavi Merchant's gambolling choreography & Dein Perry's jaunty, harsh & grunge Tap choreography. Julius Packiam's background score steepens the spirit sevenfold.
The portrayal of Sahir is candidly Aamir khan's one of the most challenging roles in recent times, leaving aside the physicality. The script & his character is such that it will win viewers' sympathy. He is a modern day clown, who may not make the audience laugh but he is someone who will entertain thoroughly. Gerald Zarcillia (of British origin) taught him martial arts and gymnastic techniques. Though he got to learn Acrobatics and French technique of Parkour, to focus on negotiating obstacles with speed and efficiency. He portrays his character to utter sauciness & perfection. His action justifies the revengeful factor in the movie. He is leery & slick in his plans. Katrina Kaif has also learned parkour, martial arts and other fighting techniques to play her part in the movie. She took paragliding training and singing lessons as well, which is avowedly evident in her portrayal of Aaliya. She never relinquishes from adding the required glamour quotient. She's roundly pre-eminent & displays the energy like never before. Her phenomenal dance is manifestly love worthy. Abhishek Bachchan is a disciplined & canny ACP once again. Uday Chopra pertinently does what he's best known for, tickle the funny bone. Jackie Shroff is effervescent in limited appearance.
On the whole, Dhoom 3 is the weakest movie of the series in terms of stunts but the strongest one, in respect of emotions, canvas & acting. It has tremendous recall value. Keeping in mind an enviable track record of Aamir Khan during the Christmas period, this year too, will end with dhoom. It is stately and fantastically shot Blockbuster, for sure. Go vroom & dhoomify yourself!
Dhoom series, that rendered emanation to street racing on exotic locales, bike-borne theft, stunting on public roads, never-seen-before action sequences, glam quotient, hi-tech heists, breathtaking hi-speed chases and non-stop laughter with excitement, have an epochal efficacy betwixt urban Indian youth. Dhoom (2004), a light footed caper that became a runaway hit, was the first action film produced by Yash Raj Films in 16 years, since Yash Chopra directed Vijay (1988). Then came Dhoom:2 (2006) and this time, the cops and robbers set up hid a love story within its folds. It too had a dream run at the box office and created a potential mine field of expectations and inadvertently, Yash Raj Films had become their own biggest competitors. So now, they are here with Dhoom:3, with a very emotionally moving script. Saying that expectations are sky rocketing, would seem like an understatement. Triggering off a new trend & adding to the hugger-mugger of the film, Aamir's decision of not visiting malls and other public forums (TV shows, events) amalgamated with YRF's strategy of releasing only 30-sec teaser of the songs, not entire songs, doesn't quite seem to backfire. Plus, with hardcore commercial film a la Dhoom:3, Aamir Khan is entering the larger than life and over the top genre of Bollywood. Believed to be made on an extravagant budget, Dhoom 3 is the first Bollywood movie to be released in the IMAX format. The film is also being released in Dolby Atmos.
Storyline is not so profound. Sahir (Aamir Khan) is on a mission to rob all the money of the Western Chicago bank, due to which Sahir's father (Jackie Shroff) took his life. He runs his father's circus along with Aaliya (Katrina Kaif). ACP Jai Dixit (Abhishek Bachchan) and his aid Ali Akbar (Uday Chopra) pay a call on Sahir, to stop him. Thereupon starts a cat-and-mouse game. The bewitching robbing sequences and boisterous stunts don't obliterate the interest into the flick throughout with adrenaline pumping twists entwined in the plot. A pat on the back of the director for coming up with such BRILLIANTLY MUSHY climax.
On the flip side, the makers enjoy the cinematic liberty of keeping the introductory Jai & Ali's coming to Chicago scene unexplained, without any previous links or so, merely because the thief is an Indian. The first half is strictly not for those who rely on logic. The pace dips in the second half, which is followed by a romantic number. Though the romantic song is set on a large canvas & is ravishing but the run time seems to be outspread.
Yash Raj Films boasts of covetable crew, inter alia, and same is the scene with D:3. Screenplay/Story/Dialogues by Vijay Krishna Acharya are synchronous and nimble. After all, he has in-depth lore of Dhoom franchise. Ritesh Soni's editing is skittish. The supporting casts have been worthily casted by Rita Powers & Shanoo Sharma. Joel Hynek's picturesque VFX is spectacular with able support from Kotamraju Karthik (Visual Effects Coordinator). Adri Siriwatt's art direction and Sumit Basu's production design are *not* short of never-seen-before in Bollywood films till date. That too holds true for Manoshi Nath, Rushi Sharma & Anaita Shroff's costumes. Zsofia Otvos & Martina Sykes' makeup department concatenates with the art of such a grandiose movie to make the experience remarkable. Kurt E. Soderling's aerial photography & Sudeep Chatterjee's cinematography portrays Chicago, Zurich, Mumbai & Ticino in never-seen-before avatar, which is overwhelmingly impressive. Conrad Palmisano & Sham Kaushal's astir stunts are evidently dapper, raising goosebumps and keeping the audience hooked without even letting them blink for a jiffy. Nick Beyeler & Joe Dryden (body doubles: Amir Khan/Sahir), Emily Brobst (stunt double: Siddhartha Nigam), Shawnah Donley (stunt double: Katrina Kaif), Jef Groff (stunt double: Abhishek Bachchan) and Webster P. Whinery Jr. (motorcycle stunts) are namable.
Dhoom series, has always vaunted of blockbuster, all or quite the go music from the ever bona-fide chartbusting music director, Pritam. Without delving much into the picturisation of the songs, the music is a winner all the way. The Dhoom:3 version of the iconic title track ''Dhoom Machale'' (Lyrics: Sameer Anjan; Singer: Aditi Rao Sharma), is already a chartbuster, but only in parts, it matches up to its predecessors. The aristocratic ''Malang'' (Lyrics: Sameer Anjan; Singer: Siddharth Mahadevan & Shilpa Rao), has spanking fusion of sufi and rock, camouflaged in an Arabic, Western and Hindustani background with Dhoom signature tune in semi-classical 'alaaps'. Professionally trained gymnasts were flown in from the United States and trained in Mumbai for 20 days. ''Malang'' is the most expensive song in this movie. Around the central theme of gymnastics, this song has over 200 dancers in the frame. ''Kamli'' (lyrics: Amitabh Bhattacharya; Singer: Sunidhi Chauhan) is a fine mix of Urdu, Punjabi and simple Persian with Western arrangement and lyrics as the USP of the track. Keeping in mind the larger than life characters of the leads, ''Tu Hi Junoon'' (Lyrics: Kausar Munir; Singer: Mohit Chauhan), the love ballad, is in a high tempo, has some nice soft rock touches and soulful melody but is bare ordinary, even the chorus is not addictive or rhythmic and appears to be more of a pop/rock concert song. Then there is this Julius Packiam composed track "Bande Hain Hum Uske'' (Lyrics: Kausar Munir & Vijay Krishna Acharya; Singer: Shivam Mahadevan and Anish Sharma), which is strictly situational a la Taare Zameen Par (2007) mode. It is a standalone number. "Dhoom Tap", instrumental, (Music: Julius Packiam) is obviously the highlight conformation. It's a blazing annexation of high tempo rock, tap dance sounds and the awesome Dhoom signature tune that has been brilliantly applied to convey the feeling of horripilation. The cineastes will have a rollicking time confronting Vaibhavi Merchant's gambolling choreography & Dein Perry's jaunty, harsh & grunge Tap choreography. Julius Packiam's background score steepens the spirit sevenfold.
The portrayal of Sahir is candidly Aamir khan's one of the most challenging roles in recent times, leaving aside the physicality. The script & his character is such that it will win viewers' sympathy. He is a modern day clown, who may not make the audience laugh but he is someone who will entertain thoroughly. Gerald Zarcillia (of British origin) taught him martial arts and gymnastic techniques. Though he got to learn Acrobatics and French technique of Parkour, to focus on negotiating obstacles with speed and efficiency. He portrays his character to utter sauciness & perfection. His action justifies the revengeful factor in the movie. He is leery & slick in his plans. Katrina Kaif has also learned parkour, martial arts and other fighting techniques to play her part in the movie. She took paragliding training and singing lessons as well, which is avowedly evident in her portrayal of Aaliya. She never relinquishes from adding the required glamour quotient. She's roundly pre-eminent & displays the energy like never before. Her phenomenal dance is manifestly love worthy. Abhishek Bachchan is a disciplined & canny ACP once again. Uday Chopra pertinently does what he's best known for, tickle the funny bone. Jackie Shroff is effervescent in limited appearance.
On the whole, Dhoom 3 is the weakest movie of the series in terms of stunts but the strongest one, in respect of emotions, canvas & acting. It has tremendous recall value. Keeping in mind an enviable track record of Aamir Khan during the Christmas period, this year too, will end with dhoom. It is stately and fantastically shot Blockbuster, for sure. Go vroom & dhoomify yourself!
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