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Reliance Entertainment, Dharma Productions, Cape Of Good Films and Rohit Shetty Picturez’s Sooryavanshi (UA) is a cop-versus-terrorist film. Veer Sooryavanshi (Akshay Kumar) had lost his parents in the terrorist attack of 1993 in Bombay. He is a very able and bold police officer who is recruited by his senior, Kabir Shroff (Jaaved Jaffrey), to eliminate the terrorists led by Omar Hafeez (Jackie Shroff) who operates from the neighbouring country. Working for Omar Hafeez are Bilal Ahmed (Kumud Mishra), sons Riyaz Hafeez (Abhimanyu Singh) and Raza Hafeez (Mrunal Jain), and a host of others.
Veer Sooryavanshi is married to Rhea (Katrina Kaif), and they have a son, Aryan. Veer’s professional life and commitments lead to a crack in his married life. How Sooryavanshi finishes off the terrorists forms the crux of the drama. He is aided by two senior police officers, Bajirao Singham (Ajay Devgan) and Sangram Bhalerao (Ranveer Singh).
Rohit Shetty’s story is full of masala and moves at an exceptionally fast pace. It may not offer much novelty but it has a good mix of action, drama, comedy, emotions, romance and melodrama too. The screenplay, written by Yunus Sajawal, is also very fast-paced and keeps the audience engaged right from the word ‘go’. There are so many turns and twists that it is difficult for the viewers to get distracted for even a minute. While on the point of screenplay, special mention needs to be made of several factors: Veer Sooryavanshi’s habit of forgetting people’s names is a fantastic punch; the hospitalisation of Sooryavanshi under Rhea’s care is both, entertaining and heartwarming; the hospital scene after Veer’s recovery is hilarious; the Ganpati idol scene is absolutely, completely and veritably mind-blowing and will evoke tears from the eyes of the weak-hearted; the cremation ground scene after the demise of Ashish Tambe (Ashish Warang) is not only very emotional but it also conveys a superb message; the scene of Veer’s son, Aryan, being injured in a shootout, and its aftermath shake the viewers; the scene of Bilal praying in the kabrastan is tension-ridden and very effective. It is scenes like the above which increase the entertainment quotient to a very high level. Overall too, the comedy quotient is high. This is not to say that the screenplay has no minus points. The drama takes a dip in the first half after about 45-50 minutes, but it soon catches the audience’s attention once again. The climax is outstanding, with the three heroes fighting it out together. The entries of Bajirao Singham and Sangram Bhalerao are outstanding! To watch them perform together on screen is a veritable treat for the eyes. Of course, it could have been more novel and less predictable, but one doesn’t care because the mere presence of the three heroes in the out-and-out action-filled climax is enough to satisfy the viewers. Even otherwise, the screenplay shortcomings are minor aberrations as compared to the plus points.
Dialogues, penned by Rohit Shetty, Farhad Samji, Vidhi Ghodgaonkar and Sanchit Bedre, are extraordinary. Many of the dialogues are clapworthy too. Several of the funny dialogues evoke laughter while the sentimental ones evoke tears.
Akshay Kumar is in full form. He shines in the title role and excels as the cop torn between the call of duty and his role as a husband/father. If his comedy is extremely entertaining, his dances are graceful and his action scenes are wow! Katrina Kaif has a far smaller role but she does justice to whatever she is asked to do. She has looked beautiful too, and her dance in the ‘Tip tip barsa paani’ song is very sensuous. Ajay Devgan is wonderfully restrained and makes a terrific impact in the brief role he has in the climax. He uses his body language to great advantage. Ranveer Singh raises a lot of laughter in the brief role he appears in. He is very effective as Sangram Bhalerao. Jaaved Jaffrey makes a fine impression as Kabir Shroff. Kumud Mishra leaves an excellent mark in the role of Bilal Ahmed. Jackie Shroff gets limited scope as Omar Hafeez; he is good. Abhimanyu Singh is first-rate as Riyaz Hafeez. Nikitin Dheer has an imposing personality and makes a truly fine impression as Mukhtar Ansari. Vivan Bhatena is very endearing as Vivan. Ashish Warang (as Ashish Tambe) and Umakant Patil (as Umakant Bhide) lend lovely support. Sharvari Lohokare (as Ashish Tambe’s wife) has her moments. Nehika Singh Rajput (as Umakant Bhide’s wife) is natural. Gulshan Grover makes his presence wonderfully felt as Kader Usmani. Rajendra Gupta is supremely natural as Abbas’ father. In the role of Abbas, Amrit Singh does a good job. Mrunal Jain is quite nice as Raza Hafeez. Asif Basra (as Rafique) and Niharica Raizada (as Tara) lend superb support. Sikander Kher (as John Mascarenhas) and Sofiya Khan (as Lily) stand their own. Kishor Govind Mahabole (as Veer Sooryavanshi’s father), Pournima Manohar (as Veer’s mother), Mickey Makhija (as commisioner of Bombay police), Shruti Panwar (as Omar Hafeez’s wife), Uday Tikekar (as chief minister), Haelyn Shastri (as the lady ATS cop), Meenal Sahu (as Riyaz Hafeez’s wife), Sara Arfeen Khan (as Raza Hafeez’s wife), Sukanya Dhanda (as Kader Usmani’s wife), Vandana Joshi (as Kader Usmani’s daughter-in-law), Anil Charanjeet (as Sawantwadi man Atmaram), Vidhaan Sharma (as Aryan Sooryavanshi), Jayraj K. Kanani (as Maulana at Padgha), Pradeep Kabra and Yash Singh (both as Mukhtar Ansari’s goons), Siddharth Jadhav (as Tawde), Anil Khopkar (as maulana), Rohitash Sharma (as pandit) and the others provide immense support.
Rohit Shetty’s direction is fantastic. He has made a fast-paced entertainer for the entire family. His narrative style will appeal to the young and old, rich and poor, men and women. Music (Tanishk Bagchi, Lijo George-DJ Chetas, JAM8 (Kaushik, Guddu, Akash)) is very good. The remixed versions of the ‘Tip tip barsa paani’ and ‘Aila re aila’ songs are excellent. The other songs are also appealing. Lyrics (Shabbir Ahmed and Rashmi Virag) are mass-appealing. Song picturisations (Farah Khan and Ganesh Acharya) are wonderful. Picturisation of the ‘Tip tip’ song is sexy while the ‘Aila re aila’ song picturisation is mass-appealing. Picturisation of the romantic song is eye-filling. Amar Mohile’s background music is outstanding. A word here about the theme music accompanied by the film’s title in the background, which is repeated at many important points in the film: it is fantastic. In fact, that background piece (by DJ Chetas) is alone worth Rs. 100 crore of box-office collections. Jomon T. John’s cinematography and Girish Kant’s additional cinematography are of a very high order. Both of them deserve distinction marks. Action scenes and stunts have been extraordinarily conceptualised and designed by Rohit Shetty and have been equally effectively executed by Suni Rodrigues. Production designing (by Swapnil Bhalerao and Madhur Madhavan) is fantastic. Bunty Nagi’s editing is razor-sharp.
On the whole, Sooryavanshi is a super-hit film, no questions asked! It will bring the industry, adversely affected by the 19 months of lockdowns, back on track in a big way. It will easily touch the Rs. 250-crore mark and may even surpass that as it will succeed in bringing the public back to the cinemas after the long ‘interval’.
Released on 5-11-’21 at Regal (daily 4 shows) and other cinemas of Bombay by Reliance Entertainment. Publicity & opening: excellent. …….Also released all over. Opening was excellent/extraordinary at many places, and very good at others.
