Tag Archives: Daisy Shah

Movie Review: Race 3 (2018)

1.5 Stars (out of 4)

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Director Remo D’Souza knows how to stage a big-screen spectacle, yet he seems overwhelmed by the baggage that comes with Race 3.

Most of that weight comes in the form of Salman Khan, whose stardom requires an outsized chunk of narrative space and screentime. Trying to give sufficient due to all of the other well-known cast members in the film — an admirable goal, for sure — expands the runtime beyond what the story can comfortably accommodate. Add to that the pressure of being bigger and bolder than the two previous movies in a series known for its outlandishness, and it’s simply too much.

Race 3 is a sequel in name only. Returning cast members Anil Kapoor and Jacqueline Fernandez play different characters than they did in Race 2, and the story takes place in a different narrative universe.

This time, Kapoor plays Shamsher Singh, an arms dealer living in exile in the Middle East after being falsely accused of illegal dealings back in India. He hopes to return home with the help of his stepson Sikander (Khan) and his twin children, Sanjana (Daisy Shah) and Suraj (Saqib Saleem). The family is assisted by Shamsher’s right-hand-man, Raghu (Sharat Saxena), and Sikander’s bodyguard and best friend, Yash (Bobby Deol).

Shamsher’s favoritism for Sikander has driven a wedge between the half-siblings over the course of decades, further inflamed when their mother’s will gives half of the family fortune to Sikander, forcing the twins to share the remaining half. When Yash’s new girlfriend Jessica (Jacqueline Fernandez) is revealed to have once romanced Sikander, the crew combusts.

The characters and their relationships are established via long scenes of dialogue that fall flat. Then, the Race story formula — with characters tricking one another, but planning ahead because they know their targets know they’re being tricked, etc. — kicks into full effect, necessitating even more boring dialogue. No individual character is particularly interesting, though the scheming twins had potential had D’Souza and franchise screenwriter Shiraz Ahmed pushed things in an edgier direction.

So much downtime allows one to imagine the Race 3 characters in other, potentially better movies. Shah and Saleem as creepy twins in a horror flick or sinister thriller. An action comedy starring Kapoor and Saxena, with Rajesh Sharma — who appears in Race 3 as Shamsher’s hometown friend — as their beleaguered younger sidekick. Fernandez starring in, well, anything else that utilizes her bubbly personality.

Fernandez and Shah feature in Race 3‘s most entertaining fight scene, flying through the air in a nightclub tussle. Shah has another fun bit when her long designer gown hampers her ability to kick her opponents — until she cuts a slit down the side with a dramatic flourish.

With an ace choreographer like D’Souza behind the camera, one expects mind-blowing dance numbers, yet Race 3‘s numbers are mostly forgettable (in part because of the need to accommodate Khan’s limited range of motion). The exception is “Selfish”, which stands out for the wrong reasons. Shah trained in aerial dance just for the number, yet the camera hardly captures her face, giving the impression that she used a body double, when I don’t think she did. There is also a group of backup dancers positioned so far behind the lead couple that they are often out of focus, which all but encourages the audience to ignore the lead couple in the foreground and instead strain to make out what’s happening behind them.

Action scenes throughout the film overuse slow-motion and are treated with a distracting effect that desaturates the image for a few seconds at a time. If randomly changing the image from color to black & white and back is the only way to hold an audience’s attention during a car chase, you’ve got big problems.

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Movie Review: Jai Ho (2014)

JaiHo0.5 Stars (out of 4)

Buy the DVD at Amazon
Buy the soundtrack at Amazon

Jai Ho is as lazy and lacking in self-awareness as a movie can be. It ignores its own shallow grasp of morality to promote the message of every recent Salman Khan movie: the answer to government corruption is a single, violent man.

Just how shallow is the take on morality in Jai Ho, a remake of a Telugu movie (Stalin) based on a Hollywood movie (Pay It Forward)? The notion of “paying it forward” — you help three people, then they each help three more people, and so on — is developed by a middle schooler in the Hollywood version, and by a man in his late forties in Jai Ho.

Of course it’s good to do nice things for other people. But the characters in Jai Ho talk about it so damned much, it’s as though the filmmakers think they invented the idea. “Generosity and helpfulness can benefit individuals and society? Who knew? Write forty minutes of dialogue to belabor the point!”

The title character, Jai (Salman Khan), who’s apparently a professional doer-of-favors, following his expulsion from the army, tries to popularize the notion of “paying it forward.” Everything is fine until his mom tells him that some people may not wish to participate, and that he shouldn’t be disappointed by that.

Jai’s realization that his idea may not be universally embraced causes him to lose his mind. In a blind rage, he attacks a guy harassing a street urchin. The guy just happens to be connected to a corrupt politician who winds up trying to murder Jai’s family. The situation is resolved by Jai fighting dozens of guys single-handedly and Suniel Shetty plowing through traffic in a tank.

Let’s get this straight: Jai’s responds to learning that there are mean people in the world by going on a violent rampage, endangering his family and friends and any unfortunate motorists who get in the way of Suniel Shetty’s tank. Way to make the world a better place, Jai!

What’s even more depressing is that violence really is Jai’s only recourse to stop the corrupt bureaucrat, played by Danny Denzongpa. The only evidence of systemic political change as a result of Jai’s gory heroics is that another politician — played by Mohnish Bahl — decides to look the other way.

The movie relies on emotional pandering in place of solid storytelling. Producer-director Sohail Khan trots out handicapped kids anytime he wants to bring the audience to tears and soldiers when he wants to stoke the fires of patriotism. Lest the audience fail to grasp the cinematic shorthand, there are musical cues and sound effects to let them know what emotions they are supposed to feel.

As with most of Salman Khan’s recent roles, his character’s only flaw at the beginning of the movie is that he doesn’t yet have a girlfriend. Daisy Shah is shoehorned into the story to fill the love interest role, even though she has nothing to do with the main plot. She’s never imperiled because of her relationship with Jai, she doesn’t partake in Jai’s do-gooder scheme, and she disappears during the climax.

There is exactly one good thing about Jai Ho, and that is Naman Jain as Jai’s young nephew, Kabir. He’s legitimately funny, and he’s by far the best actor in the bunch. Jai Ho should’ve made Kabir the main character, borrowing more from Pay It Forward and less from Stalin. That might’ve been a good movie.

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