Archie Month: The Archies

 The Archies (2023) isn't the first Bollywood movie to be inspired by Archie Comics, and it won't be the last, but for now it's the only one that's officially licensed.  Still, the movie has more to offer than just familiar character names.  There's a lot of style and a tremendous sense of place.

When rich girl Veronica Lodge (Suhana Khan) returns to her home town of Riverdale after two years in London, she's delighted to be reunited with her best pal Betty Cooper (Khushi Kapoor).  She's also intrigued by the idea of reuniting with Archie Andrews (Agastya Nanda), incorrigible flirt, aspiring musician, and former boyfriend.  It sounds like the perfect opportunity for an Archie-Betty-Veronica style love triangle, and that is exactly what happens, (It's right there in the title, after all.)

However, Archie's wayward heart isn't the focus of the movie.  Which is just as well, because Archie doesn't make a good impression during the first part of the movie; say what you will about Kuch Kuch Hota Hai, but Rahul would never forget Anjali's birthday, even if he was distracted by a date with Tina.  Archie tries to follow his heart, but his heart isn't very bright and he ends up kissing both girls in quick succession despite dire warnings from his level-headed (unless there's a hamburger involved) best friend Jughead (Mihir Ahuja).

But there's trouble in Riverdale.  Veronica's father Hiram (Alyy Khan) plans to buy up the businesses in the center of town, replacing them with a shopping center owned by him.  And his plan works, with basically no opposition; Veronica is briefly upset because Betty's father Hal (Satyajit Sharma) lost his bookstore, but Hiram arranges a new job for him, and helping the family of his daughter's best friend makes everything better, right?

However, that's not Hiram's only scheme.  He wants to build a luxury hotel, because every Bollywood billionaire tries to build a luxury hotel sooner or later, and he plans to build it in Green Park, the literal and figurative heart of Riverdale.  There's a local tradition that when a child turns five, they plant a tree in Green Park, so most of the town feels strongly rooted to the place.  There's no way the town council will approve a hotel in the park, so Hiram enlists Dawson (Vinay Pathak) to change minds by any means necessary, and to be the frontman so that the Lodge name is not attached to the project.

This is the sort of problem that will inevitably be solved by a group of plucky teenagers putting on a show, and there are plucky teenagers aplenty: Archie, Betty, Veronica and Jughead, of course, but also comedian and cub reporter Reggie Mantle (Vedang Raina), apprentice hairdresser Ethel Muggs (Dot.), nerd with a secret Dilton Doily (Yuvraj Menda), massive athlete Moose (Rudra Mahuvakar) and his tiny girlfriend Midge (Santana Roach).  In other Archie continuities Reggie is usually the foil, but here he's pretty much the moral center of the group, and is the one to discover the evil scheme in the first place.  Archie, on the other hand, requires a musical number performed by Miss Grundy's class before he starts to grow some political awareness, and it takes him a while to really dedicate himself to the cause.

Archie is an important character, and his narration acts as the barest whisper of a framing story, but the emotional core of the story is the relationship between Betty and Veronica; they might be rivals, but they're friends first, and Betty stands by her friend even when the rest of the gang suspects her of spying for her father, and the love triangle is resolved in an amicable and sensible way, without the need for Veronica to name her newborn daughter Betty and then conveniently die, leaving behind a stack of eight letters.

All that said, the real star of the show is Riverdale itself.  The Archie dynamic works really well when translated to a Bollywood setting, with Kuch Kuch Hota Hai being one of many examples, but making the movie a period piece and rooting it strongly in the Anglo-Indian community gives The Archies a tremendous sense of style and a cottage-core sensibility.  It's light, fluffy and utterly delightful.

That said, I am kind of baffled by the decision to make a movie about the Archie Comics characters, in which the band "The Archies" is an important plot point, and not have the band perform "Sugar, Sugar."  Maybe they're saving it for the sequel.

Archie Month: Kuch Kuch Hota Hai revisited.

 Kuch Kuch Hota Hai (1998) opens with a death, which is an unusual choice for a romantic movie.  Tina (Rani Mukherji) succumbs to a fatal case of Bollywood Mystery Disease shortly after giving birth, leaving behind her grieving husband Rahul (Shah Rukh Khan), her newborn daughter Anjali, and a stack of eight letters, one for each of Anjali's first eight birthdays.  (And you may be wondering what a one year old is going to do with a letter, but I can assure you, this plot is going to get weirder.)

Eight years pass.  Rahul is a successful businessman, living with his mother (Farida Jalal) and Anjali (Sana Saeed) who is spunky, TV obsessed, and devoted to her dad.  They're mostly happy, but something is definitely missing, and Anjali feels her mother's absence keenly.  Still, it's her birthday, and she has one more letter to look forward to.  She opens it and discovers an extended flashback!

Tina writes about Rahul's college days at St. Xaviers, the Bollywoodest of Bollywood colleges, complete with quirky teachers, a cheer-leading squad, and intercollegiate music competitions complete with hand painted signs.  Young Rahul is . . . kind of a jerk, honestly.  He's a smug aspiring ladies man who wears a chain with the word "Cool" on it.  However, he has a best friend, tomboy Anjali Sharma (Kajol), and she keeps him somewhat grounded.  (Cut to Little Anjali looking surprised at the namesake she's never heard of.)

Rahul and Anjali are very close, though they fight a lot, especially after Anjali inevitably beats Rahul at basketball.  The other students at the college are weirdly invested in their friendship, though, and will perform a spontaneous musical number in order to get them to make up.  And then Tina appears.  Tina Malhotra, that is, Oxford educated and drop dead gorgeous daughter of the college principal (Anupam Kher), who has transferred to St. Xaviers as a favor to her father.

Rahul is immediately captivated by Tina, and tries being an enormous jackass in order to win her heart.  When that completely fails, he tries a different tack, announcing to a classroom that "Love is Friendship," that friendship is absolutely necessary for any romantic relationship to work.  That gets Tina's attention,and when he asks her to be his friend she says yes.  Unfortunately, his declaration also gets Anjali's attention, and she starts wondering if her feelings for Rahul aren't so platonic after all.  The Archie romantic triangle is in place.

Unfortunately for Anjali, it isn't much of a contest.  She's an awkward tomboy with no experience in matters of the heart, and her attempts to dress up and look pretty like Tina lead to humiliating failure.  Tina, on the other hand, is glamorous, worldly, and has a keen emotional intelligence that Rahul and Anjali both lack.  Tina suspects that there's more to Rahul and Anjali's relationship than just friendship, and she tries to talk to Anjali about it before seriously pursuing a relationship.  Even after Anjali's vague denials, she still feels that she's an interloper, but Rahul has no such doubts, and confesses his love.  Anjali is heartbroken, and after an emotional farewell to Rahul and Tina she leaves college and they never see her again.

Tina ends her story by saying that she knows Rahul is lonely now, and that she still feels terrible about coming between them, so she charges Little Anjali to find Big Anjali and finally reunite her with Rahul, which seems like a lot of pressure to put on an eight year old; she immediately recruits her grandparents to help, but it might have been better for Tina to ask her father in the first place rather than waiting eight years for her daughter to develop sufficient reading comprehension.  

Big Anjali, meanwhile, is older, more confident, and wears saris rather than gym gear.  She's engaged to Aman (Salman Khan), a businessman who is handsome, charming, sort of annoying, and utterly besotted with her.  Her mother (Reema Lagoo) has doubts; she knows that Anjali never got over Rahul, and that she isn't really in love with Aman, but Anjali is determined to go through with the wedding.  Thanks to literal divine intervention the actual marriage is delayed until December, so she goes to work at a summer camp in Shimla, run by the cheerful but buffoonish and Britain-obsessed Colonel Almeida (Johny Lever.)

Little Anjali learns about the summer camp by calling her namesake and listening silently until she hears something useful.  She and her grandmother enroll in the camp, the Anjalis meet and bond, and then the older Anjali discovers just who her new student is, and what happened to her friend Tina.  Then Little Anjali activates Phase II of her plan, calling her father and pretending to be sick so that he'll rush to the camp.  He rushes to the camp, sees both Anjalis together, and completely fumbles the reunion.  Little Anjali and her co-conspirators do their best to push the two together, old feelings resurface, new feelings start to boil over, and the pair are just about to confess their mutual love when Aman returns.

Kuch Kuch Hota Hai was writer/director Karan Johar's first movie, and the first step in his examination of increasingly transgressive love stories.  However, Rahul and Anjali are really not that transgressive; he's a widower and she's engaged to another man, but widowed men remarry all the time in Bollywood, and even Aman knows that she's just not that into him.  It's not like there's family pressure forcing Anjali to keep the engagement, either, since her mother clearly has doubts about the whole situation.  Everything could be resolved happily with five minutes of honest conversation, but instead Rahul and Anjali suffer in silence up to the very last minute, inspiring the people around them to make what Pretentious Movie Reviews calls the "Wow, Such Values Face", marveling at their stoic but pointless sacrifice.

Kuch Kuch Hota Hai has been reexamined in recent years, and as a member of the Pretty In Pink generation I think that's healthy.  I don't agree with all of the criticism I've seen, but Rahul is kind of toxic at times, especially in his younger days, and the movie does stick to a very conservative idea of family structure, with Little Anjali needing a mother being one of the driving elements of the plot.  Rather than argue fine points, though, I will tell you why I think that Kuch Kuch Hota Hai is good, actually.

It goes back to Archie comics, which Karan Johar has said were a specific inspiration for the film.  For the Betty-Archie-Veronica triangle to really work, both of the potential love interests have to be viable choices; Pride and Prejudice doesn't fit the Archie model, for instance, because Darcy is good but stuffy while Wickham is charming but actually a monster.  More than that, like Betty and Veronica, Anjali and Tina are genuine friends, with a relationship that extends beyond Rahul.  When Anjali discovers the truth about Little Anjali, her first reaction is to take a moment to mourn her friend.

The plot is, of course, absolute nonsense, with a constellation of plot holes shining through the script.  But like many films of this era, the plot is just a vehicle for delivering emotions, and emotions abound.  Even at this early stage of his career, Karan Johar has a real knack for writing characters, and the actors chosen to play those characters are fantastic.  Kajol is the real standout here, conveying volumes of meaning just through facial expression; you can literally highlight the exact second when her heart breaks, in the middle of a joyous dance number, without a word being spoken.

The movie is a mess, but it's a wonderful mess.  Just don't take it as a guide to healthy relationships.

Hiatus over!

 I'm back from vacation, and for the rest of January, it's Archie Month.

Hiatus

 I am going on vacation.  New reviews in January!

What I say three times is true.

Aamir Khan and Juhi Chawla rose to stardom thanks to their performance as star-crossed lovers in Qayamat Se Qayamat Tak,  and they spent much of their early careers playing opposite each other as star-crossed lovers.  Love Love Love (1989) is one of those movies.

Perennial bad guy Gulshan Grover plays Vicky, son of local Don Sudhir Bhai (Raza Murad).  Vicky behaves like the wicked prince in a fairy story; he's tremendously entitled, cruel for cruelty's sake, and he does not think things through.  In theory, Vicky is a college student, and he introduced himself as "The Don of the college," but he spends most of his time going into dance clubs and humiliating everyone who annoys him.  (Grover was thirty four when this move came out, and he looks it.)  naturally, Vicky has a small coterie of sidekicks and hangers on, the most important being his girlfriend Reema (Juhi Chawla) and her brother Mahesh (Anand Balraj).  

Reema is visibly annoyed by Vicky's casual cruelty, but she never does anything about it.  And then one night, as Vicky and the gang are mugging an old man for money to buy a VCR (they can easily afford it, but Vicky gets bored if an activity doesn't involve hurting people) they are interrupted by good Samaritan Amit (Aamir Khan), who studies at the same college.  Vicky is obviously furious, but Reema is delighted, even if she still doesn't do anything about it.

And then . . .  well, it's Eighties Bollywood, so the romance is going to be weird for a while.  Vicky and his goons steal Amit's new bike, ride it around the campus (this time Reema is an active participant) and then destroy it in front of him.  (Reema did not participate in that part.)  Amit bumps into Reema at a disco and forces her to dance with him, which is seriously not cool.  Vicky arrives and makes some threats, and it's all kind of pointless because the actual plot hasn't kicked off yet.

The college principal (Chandrashekhar) selects Amit and Reema to represent he college at a quiz competition in Delhi.  He also insists that they travel by train together, unsupervised, in order to build team spirit.  That gives the young soon-to-be star crossed lovers a chance to get to know one another on equal terms, without either one coming across as a creep.  There's definitely a spark there.

Reema and Amit return victorious to Mumbai, and their classmates pressure Amit to hold a party the tiny house where he lives with his taxi driver father (Dalip Tahil).   Reema promises to come, but she literally cannot get away.  During the next attempted date she has to attend a boring cocktail party with her father (Om Shivpuri) and Vicky's father.  Amit tries to arrange more dates, and she never manages to show up, leaving his friends to darkly mutter that "rich girls can't be trusted."  

Finally Reema manages to sneak away long enough to meet Amit at the Disco Dandiya, and they declare their love for one another.  Amit and Reema make a plan to secretly meet every morning while jogging, And then Reema ruins everything by telling Vicky and her father that she's been meeting Amit, which leads to more threats, more beatings, and Vicky's terrifying father meeting Amit's father to make threats.  Amit is a dutiful son, so he agrees to leave Reema and go away when his father asks him to.

Reema is sad for a while, then she takes the initiative and tracks Amit down, leading to more happy dancing and frolicking.  Sudhir Bhai is forced to elevate his threats - either Reema agrees to marry Vicky, or he will have Amit killed; the fact that he makes this threat as they watch one of his goons try to run Amit over makes it especially convincing, so Reema agrees.

And then Vicky ruins everything, because he does not think things through.  He makes a point of taking Reema with him to deliver a wedding invitation and to invite Amit to attend Reema's birthday party, where the engagement will be formally announced.  The evil plan is to insult Amit so much that he doesn't even think of approaching Reema ever again, and Vicky and his friends are a bit mean, but the Reema publicly sings about her love for Amit to the tune of "It's A Sin" by the Pet Shop Boys, dances with Amit in front of everyone, and ends by kissing him on the lips, which is humiliation stacked on humiliation for Vicky.  The good guys escape, the bad guys are out for blood, and it all leads to a climactic showdown in an unlicensed Disney theme park.

There's a reason why I started by talking about Vicky rather than the actual protagonists.  He's a much bigger presence in the film than the usual unsuitable suitor.  That's an interesting choice, and it would be more effective if Vicky weren't so cartoonishly evil.  He starts chewing the scenery the moment he appears on screen, nearly every line is delivered with a snarl, and because he starts by threatening violence the moment he's thwarted in any way, he really doesn't have much room to escalate.  Gulshan Grover is great at playing scenery chewing villains, but this movie gives him more scenery to chew than usual, and it's a bit of a struggle for him to get through it all.

Aamir and Juhi have a bit more to work with, especially Juhi.  Reema has to walk a careful tightrope at the beginning, because she needs to be at least somewhat complicit in Vicky's bad deeds without becoming totally unlikable.  Reema also has more agency than a lot of the Bollywood heroines of this era, and even gets to join in on the last fight scene.  Amit is a more solid and traditional character, but he gets plenty of chance for heroic speeches and noble self sacrifice.

All that said, this is Eighties Bollywood, and it does showcase some of the flaws of that era.  The incidental music is largely lifted from western movies, with the Star Wars theme playing at key points and a chase scene accompanied by the music from Chariots of Fire.  The movie is set at a college campus where nobody ever goes to class.  The plot goes around and around in circles, especially as the film approaches the climax.  And unfortunately Vicky does end the movie threatening to rape Reema, which is a jarring shift in tone form the rest of the movie, making those scenes grimy and horrible, rather than the fun melodramatic romp it had been up to that point.

On the other hand, the hero's sister makes it through the entire movie without anything terrible happening to her, and Bob Christo, one of my favorite Bollywood henchmen, makes a brief cameo as an assassin named Bob.

Come back, Karan Johar. All is forgiven.

 Karan Johar didn't invent the big Bollywood musical romantic drama, but he wrote, directed and/or produced some of the finest examples of the genre, and also Kabhi Alvida Naa Kehna.  Times change, and tastes change, and Johar has left the genre behind in recent years, but Rocky Aur Rani Kii Prem Kahani (2023) represents his return to romance.  I plan to judge it by the same standards I judged Johar's early films: Plot exists as a vehicle to deliver emotions, we have to like the couple and want them to be together or there are no stakes, family should be a collection of actual characters rather than just an obstacle, songs should be frequent and colorful while advancing the emotional core of the story, and Farida Jalal should play somebody's mother.

Rocky (Rabveer Singh) is a bit of a lunkhead, fitness obsessed and a bit full of himself, but with a good heart.  He's devoted to his family, especially his grandfather Kanwal (Dharmendra).  And really, someone has to be - Kanwal has been confined to a wheelchair and practically catatonic for decades, and his wife Dhanalakshmi (Jaya Bachchan) has raised their son Tijori (Aamir Bashir) to focus on the family's highly successful ladoo business rather than his ailing father, and Rocky's mother and sister (Kshitee Jog and Anjali Anand) are buried in household duties, so Rocky is left to serve as the heart of the family.

At a business function, Kanwal hears a ghazal, and it awakens something in him.  He approaches a random woman and calls her "Jamini."  Kanwal's doctor suggests that finding this "Jamini" might help him recover some of his faculties, and Rocky is on the case.  Finding an old photograph leads him to a woman named Jamini Chatterjee (Shabana Azmi), and to her granddaughter Rani (Alia Bhatt), a hard-hitting TV reporter.  

Rocky contacts Rani, and after a lot of flirting they arrange a meeting between the families.  Kanwal doesn't just speak to Jamini, he stands, he kisses her, he even sings.  Dhanalakshmi decides that that's enough of that, thank you very much, and officially puts a stop to any further meetings.  However, Rocky and Rani decide to keep arranging meetings, falling in love with each other in the process.

Rani tries to convince herself that it's just a fling; yes, Rocky is handsome and charming and funny, but he is undeniably a lunkhead.  There's no way a relationship could actually work, is there?  Rocky has no such illusions.  He's in love and wants to get married.  He tries to propose, and it doesn't go well, especially because Rani is worried about their very different families.  

Rani comes up with a plan that's so crazy it just might fail and hurt a number of people in the process: criss cross!  They spend three months living with one another's families, and if they can make that work then marriage will be no problem.  It's like the romantic comedy version of Strangers on a Train.  However, it also plays into a common Bollywood trope, in which the hero lives with the heroine's family, usually under false pretenses, and winds up making everybody's lives better.  This is the rare double DDLJ.  And there's a lot to do, as Rani learns to navigate Rocky's tradition-bound and cold family dynamic, while Rocky struggles to fit in with Rani's trendy and feminist mother (Churni Ganguly) and Kathak dancing father (Tota Roy Chowdhury).  

And for once I've given myself a clear rubric with which to judge the movie, so point by point:

Plot exists as a vehicle to deliver emotions - absolutely.  The plot makes more sense than Johar's debut film, Kuch Kuch Hota Hai, but there are some strange developments here which lead to big emotional set pieces.  On the other hand, it's not just about the emotional payoff; the film is a great example of the big Bollywood romance, but it also examines some of the outdated romantic tropes that Karan Johar had a hand in popularizing, questioning Bollywood's treatment of women and examining whether romantic self-sacrifice really is the highest expression of love.

We have to like the couple and want them to be together or there are no stakes - another yes.  Rocky gets off to a bit of a rocky start (ha!), but he's a lunkhead who is willing to learn, and part of rani's character development is realizing that she's been judging Rocky on a surface level rather than seeing the real and complex person underneath.  And Rocky gets the "I'm young and carefree and nothing will ever change me" song that is usually assigned to the heroine.

Family should be a collection of actual characters rather than just an obstacle - family is definitely an obstacle here, but the families all feel real and complicated, and the real end boss is generational trauma.  Usually all of the troublesome elders are forgiven at the end of the movie, even if they've hired assassins to bump off the hero or heroine, but not here, and the characters who are forgiven had to work for it.

Songs should be frequent and colorful while advancing the emotional core of the story - oh, yes.  The songs fit tightly into the narrative, and they are both sumptuous and decidedly old school.  I did not realize how much I miss that era of Bollywood.

Farida Jalal should play somebody's mother - no.  What's up with that?

Shah Rukh and Son. (The son is also Shah Rukh.)

 Shah Rukh Khan's comeback tour continues with Jawan (2023), which is reminiscent of some of Kahn's older movies while still being very much its own thing.  Critics have mentioned thematic similarities to Phir Bhi Dil Hai Hindustani, Chak De! India, Swades, and Chennai Express, but it really feels like writer-director Atlee looked at the over the top political metaphor of Oh Darling! Yeh Hai India! and decided that metaphor is for cowards.

The plot of Jawan is fairly straightforward, but it's one of those movies in which the backstory is slowly filled in through a series of nested flashbacks.  The film opens in 1986, with a mysterious bandaged  amnesiac (Shah Rukh Khan) saving a remote village from an attacking force of Chinese soldiers.  Then the movie jumps to the present, with a subway train taken hostage by a small band of highly trained women, each with their own special skillset: Lakshmi (Priyamani), Doctor Eeram (Sanya Malhotra),  Helena (Sanjeeta Bhattacharya), Ishkra (Girija Oak), Kalki (Lehar Khan), and Jahnvi (Aaliyah Qureisha).  The women answer to a mysterious bandaged mastermind (Shah Rukh Khan), who demands a hostage negotiator that's interesting to talk to.

The authorities select Narmada (Nayanthara), head of the counter-terrorist unit Force One.  The bandaged man plays the villain for a while, then reveals his demands - four hundred million rupees, enough to pay off the loans of seven hundred thousand farmers.  As it happens, Alia (Ashlesha Thakur), daughter of legitimate businessman/arms dealer Kalee (Vijay Sethupathi), is on the train, and he agrees to pay the ransom.  This is not a coincidence.

When the train arrives at the station, Narmada has her men waiting to arrest the hijackers, but by this point the bandaged man has won over the hostages by explaining the predatory nature of loans to farmers and the resulting high rate of suicide among them, and because he only pretended to kill a hostage to show how serious he was.  With the help of the hostages and a fair amount of hugely unlikely technological trickery, the hijackers escape, but before they go the leader asks Alia to tell her father his name: Vikram Rathore.

He is not actually Vikram Rathore. He's Azad, warden of a women's prison that focuses on rehabilitation and restorative justice rather than punishment.  His six accomplices are all inmates at the prison who have all suffered various forms of social injustice, and Azad's plan is to expose government corruption, help the common man, and, as later flashbacks reveal, clear the name of his father, Vikram Rathore, who was branded a traitor and apparently murdered after exposing defective weapons that Kalee's company sold to the military.

Meanwhile, Azad's foster mother Kaveri (Riddhi Dogra) is looking for a bride for him.  The latest candidate was too busy to meet with him, and rather than send her parents she sent her ten year old daughter Suji (Seeza Saroj Mehta), who is in the market for a father.  Azad and Suji get along well, and when her mother turns out to be Narmada, they get along as well.  The match is made.

Azad wants to tell her the truth, but before he can bring himself to do it, on their wedding night, she discovers that he's the criminal she's been chasing.  Before she can arrest him, though, the honeymoon cabin is attacked by armed men led by Kalee's brother Manish (Eijaz Khan), who thinks they're working together.  He shoots Narmada and is about to kill Azad when Vikram Rathore appears.  He's not dead after all, but he still has amnesia.  On the other hand, he is a decent fellow and a trained soldier, so he's happy to rescue his son even though he feels no emotional connection.  It does not go well for Manish.

Kalee was in Russia attending an International Conference of Evil Businessmen, which is the kind of thing that happened a lot in Nineties Bollywood action movies.  He's hoping to raise enough money to buy himself into political office, and then open up India as a haven for evil businessmen to build massive polluting factories without having to worry about environmental regulations or basic safety.  (This is not a subtle movie.)  A mobster with a Darth Vader breath mask offers to put up the money, threatening dire consequences if he is not paid back on time.  But before Kalee can put his plans into action, he needs to take revenge on his old enemy Vikram for Manish's death.

So Kalee wants revenge and power, in that order.  Vikram, Azad, and the ladies want to steal Kalee's money, to end his power and make India a better place for the common people.  Narmada, who is also not dead, wants to arrest her wayward husband, though there's a good chance that she can be won over by the right bit of exposition.  The plot may be complicated, but the sides are clear, and there's room for key cameos from Sanjay Dutt and Deepika Padukone.

When an actor is playing a  dual role, it's important that the characters are distinctive enough to be easily distinguishable.  Azad is a fairly typical SRK protagonist, prone to big displays of emotion, impassioned and inspiring speeches, and dancing with his arms extended.  Vikram, as an older amnesiac, is quirky and largely detached from what's going on around him.  He's just happy to help, especially if helping involves spontaneous displays of violence.  

 The characters are also distinguished in the action scenes; Azad is an over the top Bollywood action hero, skilled and blessed with a great deal of luck, especially evil henchmen who keep forgetting that they have guns and attacking one at a time.  Vikram is more like an over the top South Indian action hero, operating on an entirely different level.  He's capable of the kind of stunts you see in Bahubali or RRR.

As huge and improbable as the actions scenes are, though, it's the plot that really stretches suspension of disbelief, particularly the notion that Azad and his friends can achieve lasting political change through their Robin Hood antics; at one point they overhaul India's entire medical system in the space of five hours.  It's a movie with its heart in the right place, especially Azad's final speech, in which he pleads with the public to use the power of their vote carefully, asking those seeking office what they will do to help the country and the common people instead of being distracted by fear or labels.  And that could lead to social change, but acts of heroic crime probably won't.