Kangana Ranaut ticks off all of the packing containers of the poker-faced spy mannequin in Dhakaad, observes Sukanya Verma, however the the film wants actual rescuing.

Dhaakad is a showreel for Kangana Ranaut’s motion heroine expertise. Like all her post-Queen tasks, she dominates almost each considered one of its photogenic frames, flaunting her swift strikes and need to load a gun.

Like all get-up prepared, gizmo outfitted, die-hard Hollywood brokers, spies and commandos all rolled in a single, her Agni dedicatedly dives into one action-packed venue after one other all the best way from Budapest to Bhopal.

Debutant director Razneesh Ghai’s terribly second-hand, tediously bleak tackle the ladies with weapons style has a voracious urge for food for violence, however doesn’t know find out how to make all of the blood depend for one thing. You can gauge its intelligence quotient in dialogues like “Main jism nahi bechti, jism zaroor alag karna enterprise hai mera.”

What excites Dhaakad extra is beauty imagery and hole posturing.

There’s a villain’s origins flashback shot in slickest shades of black and white designed to unsettle the viewer with its oversupply of sliced flesh.

Its opening shot (DoP Tetsuo Nagata) lingers on Agni’s curvy body standing towards a European window in black lingerie and blunt bob. Cut to her boss barking orders, ‘Dragonfly, that is ringmaster tumhare paas teen minute hai.’ Before one has the prospect to really feel mildly amused over these phrases, she’s already gone from a machine gun blasting soldier to katana wielding samurai to throat slashing ninja.

A skilled human weapon haunted by ghosts of her traumatic childhood, Agni exhibits no indicators of life or libido. But when her superior (Saswata Chatterjee) assigns her the duty of taking up “Asia ke sabse bade human trafficking ring,” she embarks on Dhaakad‘s two hours online game problem with the passion of a deadpan zombie.

As if overcompensating for Agni’s lack of emotion, antagonist duo Rudraveer (Arjun Rampal) and Rohini (Divya Dutta), on the helm of the aforementioned racket, go hammer and tongs to make their presence felt.



Ghai’s comedian ebook sensibilities spill over the script’s ‘something goes’ fictional setting, which explains Rudraveer’s lair working inside a coal discipline the place he is brainwashed and builds a military of fundamentalists by spouting some claptrap about human rights. The man’s received a flowery hideout in Hungary too.

If Rudraveer’s an enigmatic creep lurking within the shadows accompanied by the howls of wolves in India, he turns right into a Russian model mafioso sporting platinum hair and fur collared coats flanked by henchwomen who costume up like Zena, the warrior princess in Hungary. What’s more unusual is Rudraveer’s obsession with a awful lullaby that will get pointless display screen time.

Arjun Rampal appears to be like ugly and speaks in an odd Bihari accent, however his theatrical ferocity presents a welcome aid from Dhaakad‘s monotonous motion. As his bawdy accomplice and brutal mind behind woman trafficking, Divya Dutta retains it loud and splashy.

Meanwhile, Kangana Ranaut ticks off all of the packing containers of the poker-faced spy mannequin, which implies she’s both slipping right into a sequence of disguises (a curly haired correspondent with a phony international accent, a hijab-wearing tailor in garish prosthetics, a blonde cabaret dancer) or unleashing her fury on the dangerous guys within the quintessential motion heroine uniform — tremendous tight skinny denims and tank tops.

Lest she comes throughout trying like a complete cyborg, a colleague’s (a wasted Sharib Hashmi) child is tossed within the image for her to play saviour to. But it is the film that wants actual rescuing and Dhaakad simply does not reduce it.

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