ZANJEER MOVIE REVIEW

Zanjeer, the remake of the Amitabh Bachchan film of the same name, that was released back in the early 1970s, was a considerably watchable film back then. Apoorva Lakhia, the director of the new version of the film has attempted to make a blockbuster out of a prototype that has been exhausted over the years.

Telugu actor Ram Charan has marked his Hindi debut in this film as a lead actor. Priyanka Chopra has played the female lead, Prakash Raj plays the antagonist and Sanjay Dutt, Atul Kulkarni appear in other important roles in the film.

The movie revolves around a hyper-active police officer who is transferred from corner to corner due to his straightforward and aggressive ways, and finally lands up in Mumbai where he digs into the root of a petrol mafia case.

Ram Charan categorically is a hero material with his stunning looks and physique. However, his appearance in Zanjeer, with a stubble and spiked hair, does not match the character he is playing. The action sequences have been choreographed neatly even though it gets mind-numbing after a certain period of time. Prakash Raj’s performance as a comedic villain is a breather amidst the other elements of the film, that apparently seem to race one another into the hall of notoriety. Sanjay Dutt is inadequately used and his character is clumsy. His appearance as Sher Khan might raise the spirits of his ardent fans though.

Priyanka Chopra’s introduction dance is easily the best item number out of the three that feature in the movie. She looks really hot and pretty at the same time. However, one may wonder why she is even there in the movie, especially after her role in the case is finished. Talk of romance with the cop! 

The background music completely lacks the drive that is needed and is deplorable at times. The “Ragupathy Raghava Raja Ram” music, that commences whenever Ram Charan tightens his fist to bash up the goons, sounds so detached. The action sequences would have been more engaging had the background score been better.

Gururaj’s cinematography is watchable though not remarkable. The ultraslow motion shots in the fight sequences are something that appeal visually. The sequence that features Ram Charan plowing into thatched houses in a car and emerging out without causing any major damage to the vehicle, is not only frivolous but also an example of poor direction.

The narration of a tragic flashback, with the actor getting dreams that disrupt his sleep, easily opens up the story and tells us where it is heading. On the whole, the movie is a poor Bollywood debut for Ram Charan. Director Apoorva Lakhia could have made the movie a little more compelling or could have adopted a different script altogether. Instead he has followed the standard “I-am-so-predictable” textbook that makes use of the “love-song-action-sentiment” template.