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Heropanti (“Big Attitude”, according to the subtitles) labors under the misapprehension that it is a progressive film. Despite a couple of statements disapproving of arranged marriage, the movie ultimately ends up reinforcing the patriarchal system it thinks it’s criticizing.
The plot is the same story we’ve seen a hundred times in Hindi cinema. The hero (debutant Tiger Shroff) wants to marry a girl (Kriti Sanon), but her father (Prakash Raj) disapproves. Rather than elope with her, the hero uses his brute strength to convince her father to let the couple marry.
The action takes place in a small town over which Chaudhray (Raj) rules with an iron fist. When his eldest daughter, Renu (Sandeepa Dhar), runs off with a man, Rakesh (Devanshu Sharma), Chaudhray has his goons round up Rakesh’s friends and hold them prisoner until they disclose the couple’s whereabouts.
Shroff’s Bablu is captured along with two of his friends/lackeys and Kiki, an annoying guy who’s kidnapped by mistake. The comic relief Kiki is supposed to supply consists of him endlessly repeating the phrase, “What is the position?”
While in captivity, Bablu discloses that he’s fallen in love at first sight. This triggers a flashback to Bablu ogling a woman — Sanon’s Dimpy — on the street. He sees the same mystery woman again at a temple as he and the lackeys try to escape, and his moon-eyed staring results in their recapture. Only later does Bablu find out Dimpy’s (hilarious) name and learn that she’s Chaudhray’s youngest daughter.
Why do we need the flashback to Bablu scoping Dimpy on the street? It ruins the pacing of the story and wastes time in a movie that’s already plenty boring. Had Bablu seen Dimpy for the first time at the temple, it would’ve made their botched escape more exciting and made him a more interesting character.
As it is, Shroff’s Bablu seems like a younger knock-off of a typical Salman Khan character — smug, invincible, and perfect except for the fact that he’s single — only with Hrithik Roshan’s physique and dance moves. With young actors like Sushant Singh Rajput, Sidharth Malhotra, and Varun Dhawan making big impressions early in their careers, Shroff seems like a throwback to a type of hero that’s on the way out. This is a perplexing film to choose for one’s debut.
Sanon shows real promise. She gives Dimpy a spark that livens up a character possessed of very little agency. It will be interesting to see what Sanon can do with a character who’s more than just a damsel in distress.
Dimpy’s in a hopeless position that gets at the crux of Heropanti‘s problems. She falls for Bablu in return but can’t act on it because Chaudhray has promised to marry her to one of his underlings. Also, Chaudhray repeatedly states that when he finds Renu, he’s going to “burn her alive.” He does find her, though director Sabbir Khan doesn’t show us what actually becomes of Renu.
Despite knowing of Chaudhray’s willingness to murder his own child to save face, Bablu tells Dimpy, “You have to fight. That’s how you get equality.” But when push comes to shove, Bablu abandons the notion of a woman’s right to choose her own marriage partner. He tells Chaudray, “I don’t want to take away your right to decide who she marries.”
Dimpy has no control over what the men around her do with her body. Before knowing her identity, Bablu gets drunk and puts his hands all over her in a darkened room. She’s left alone for all of twenty minutes in Delhi, and a gang of men try to rape her. Her father ultimately “gives” her to her groom, as though she were an object. The camera routinely zooms in on her bare torso, further objectifying her.
Heropanti is so out of touch that it’s mystifying that it was even made, let alone used as the vehicle to launch Shroff’s movie career. It’s hard to imagine the teenage girls who are Shroff’s most obvious potential fanbase being impressed by a movie that thinks they shouldn’t have control over their own lives or bodies.
Very well expressed once again, Kathy.
It is infuriating to see the way women are still considered as objects and how such patriarchy is promoted in a film that appears to be ‘modern’. Really speechless after reading the scenes mentioned by you.
And as always, apart from you, no other reviewer has mentioned about the film’s highly regressive content. It’s sad!
Keep it up,
Thanks, Keyur! There’s something especially sad in seeing writer Sanjeev Dutta and director Sabbir Khan trying to be progressive but just not getting it. It’s not enough to have the male protagonist say, “No means no,” to a group of men trying to rape the heroine. Her rape shouldn’t be used as a plot point in the first place! The film is ultimately resolved without Chaudhray having to change his mind at all. He doesn’t come to realize that his daughter should be able to choose her own husband, he just finds a physically stronger man for her to marry (who just happens to be the guy she wants). It’s still his decision, and Bablu and Dimpy affirm that. It’s maddening.
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Why the .5 star? Why not 0?
The .5 star is all for Kriti Sanon.
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This sounds a lot like the 2008 Telugu movie Parugu, which starred Allu Arjun – and Prakash Raj in the same Prakash Dad role. Do you know if it’s supposed to be a remake, or is it just another Hindi film that’s “coincidentally similar” to a Southie hit? I seem to recall that Parugu did pretty well.
Thanks for pointing this out, Heqit. Apparently, it is:
Hope this preview review clears your doubt about difference between parugu and Heropanti
and this one too
Thanks for the links, Hector!
Allu Arjun is great actor, dancer. I was not brave enough to watch a (idk the word) beating the crap out of villains, i dont even know the plot, hearing from you i am relieved and glad i didnt watched the shit.
however allu arjun, star from perugu is a great actor, can you rate his Arya and Arya2 ?
I make a point of just reviewing Hindi movies so as not to get overwhelmed, ayshy, but thanks for recommending Allu Arjun’s movies. I’ll keep them in mind.
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Hi, I happened to have watched heropanti after parugu ( the original one) and wondered whether any one have written on how they ruined a simple family love story. By no means Parugu is a classic but after watching heropanti it seems to be one.
And coming to your review, while reading it felt like you have watched parugu and then heropanti because whatever faults you have highlighted and your thoughts on how they should have avoided them in heropanti are just like that in parugu. It’s like parugu would be how you wanted heropanti to be. Like how ‘Hero doesn’t fight with father but simply expresses his love for the girl and his situation’ or ‘how the family or father doesn’t acknowledge honour killings’ or ‘how the hero sees the heroine for the first time near by temple and stops escaping’.
I think you should watch the original if you haven’t yet. I would like to know your thoughts on it if possible.
Hi, Itachi! I haven’t seen Parugu, but it certainly sounds like the better of the two films. Here’s a link Parugu’s Wikipedia page for anyone interested in reading more about it.
This was definitely not the best movie and most of the things the dad did made me extremely mad, but I really enjoyed the songs and the background music.
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