Even gods had bad days at the office, their thunder bolts wouldn’t come off or the spouses ditched their sides to mortal planets, over moral stand-offs. Some demi gods, as invincible as they were had weak links in their anatomy as well, like Achilles for instance. Their flaws and the comeuppance that followed lent pulp of relatability for tons of mythology to be woven into scaffolding for many a religion. Take for instance the Ramayana, without the long exile we wouldn’t have gotten a well rounded hero in a man who wept, sweated and bled; but with grace and dignity on the face of the worst jokes fate was spinning around him. There’s a certain charm that comes in chronicling the lives of great men, who wore their failures as a badge of honour, while holding fort in the eye of the storm. Their character is often the halo we bend before with reverence.
Biopics are the closest we get into the heads of some fascinating men who walked the face of the earth, as long as their travails aren’t manicured in the altar of mass acceptance.
Given the number of promotional gigs Dhoni has been a part(a number,little higher than the press conferences he’s attended in his tenure as a captain); not to mention his vested interest that extends to the production of the movie; my hopes of an half honest account nose dove like his recent form.
So to be fair, I went in to the movie with a good quantity of predisposition, but was pleasantly surprised by the cinematic translation of the underdog story I had read and heard, albeit with a few liberties. I especially loved the portions involving his childhood and how the little men around him had chipped in to become cogs to make this giant wheel roll ahead. But as the movie progressed, the earthy smell got replaced by something that resembled the stench of vanity and characters who hitherto spoke and felt like laymen started making pronouncements- juxtaposed with cricketing metaphors -out of Robin Sharma books. Soon the movie resembled a Nelson Mandela biopic attempt with Will Smith in Bad Boys swagger.
After a point the movie goes on autopilot, resembling a compilation of “greatest ODI knocks episodes” on ESPN, only that we’ve got stock footage of Anupam Kher‘s reaction shots instead of Harsha Bhogle and a doppelganger instead of Dhoni to contend.
The hyperbole level is dialed up further, as we come across more stock characters-all devotedly white without a speck of grey- nobler than the noblest, naiver than naive. The two women who constitute his love interest with their strict no PDA rules that would make Madhubala look like a vamp are embarrassing cliches with similar scopes-montages, songs, valentine’s predicament, lost poodle eye roll and commitment pangs.Rinse. Repeat.
And why on earth did the family and well wishers who are shown eternally glued to their television sets on match days, never in any of his match venues? Probably because the director didn’t want to meddle with the collective over-idealism in the movie.Another cardinal sin the makers commit is making a biopic during the times of Dhoni, with his relevance intact. Bhaag Milkha Bhaag, a fairly well made(dramatised) biopic could leverage on the advantage that it was made decades after his time. It could afford to have a brawny Farhan Akhtar who looked nothing like Milkha play him, throw facts to the wind and milk his blurry distance from public memory. Same reason, the initial portions with Dhoni’s childhood resonate the best, as they’re far removed from his time, with nothing but anticipation to yardstick their authenticity.
Largely entertaining,imaginative and well intentioned, it’s a tight rope walk between movie making and manipulation that the director manages to pull off, but when the heart of the protagonist is compromised, what we’re left with is the cry of an invigorating background score, instead of the rhythm of his heart.
We didn’t expect a chest-splayed-out-in-the-open account in the first place, but at least a banian level of honesty, with a doff of hat to cautious diplomacy. But we instead get seven layers of expensive clothes, all trying to pass off as his righteous skin.In the end as we begin to realise the vanity spin off the movie turned out to be,Sushant Singh appears like a metaphor to the movie; better looking,well built and ultra polished than the man himself.