Bollywood and culture in an emerging India
(Any opinions expressed here are those of the author, and do not necessarily reflect the opinions of Thomson Reuters)
If it wasn’t for the chorus of “Khiladi Bhaiyya” that accompanies Akshay Kumar each time he makes an entrance on screen, I would’ve forgotten I was watching Ashish Mohan’s “Khiladi 786″. I might as well have been watching “Singham” or “Golmaal” or any of the comedies earning a box-office billion that dot our cinematic landscape these days.
The hero here is blase, and seems to have no other ambition in life other than to get married. The heroine refuses to get married at first and then transforms into a docile woman who allows herself to be led by the men in her life. Nothing here is consistent — neither the story, nor the way the characters act.
Akshay Kumar is a Punjabi police officer, Himesh Reshammiya is a match-maker out to prove a point to his father, and Asin plays Indu, the fiery sister of a Maharashtrian don (Mithun Chakraborty). When Reshammiya promises the don (who goes by the name TTT), that he will find a groom from a “decent” family for his sister, he doesn’t realise the groom he has in mind isn’t what he appears to be.
This is a first. Aamir Khan has gone the Shah Rukh Khan and Akshay Kumar way — the actor in him has given way to the star. He’s finally starred in a film that totally rides on his star power and as you discover once you’ve watched “Ghajini”, it’s not such a bad thing after all.
Khan plays Sanjay Singhania, a telecom tycoon, who we are told suffers from short-term memory loss. Singhania’s memory is wiped clean after every 15 minutes and to keep himself updated with his life, he has to continuously take pictures of his surroundings, write notes to himself and tattoo important facts on his torso.