Baby John, a Hindi film featuring a little girl named Khushi (played by Zara Zyanna) whose fearful hideout under a bed sets the stage for confronting bad guys, prompts a contrast with another cinematic depiction of childhood under siege. This scene made me question why Khushi's father, the eponymous Baby John (Varun Dhawan), had not prepared his daughter for danger like the character Honey prepares his daughter Nadia in 'Citadel: Honey Bunny', another film starring Dhawan.
Young Khushi and Nadia are part of a common trope in Indian cinema, where children, often annoyingly, speak and behave like adults. Despite its star-studded cast and over-the-top visual and auditory experiences, Baby John's plot fails to engage the audience.
The film is a remake of Atlee's 2016 hit 'Theri' which combined action, emotion and social commentary successfully. While the new production attempts to supersize the original film, it lacks its spark.
The marketing for Baby John positioned it as a 'Christ-Mass release', promising a commercial extravaganza where normal rules do not apply. The goal was to deliver a 'stadium moment' of collective euphoria, a feat that director Kalees struggles to deliver. Despite Dhawan's previous successes, his character fails to leave a lasting impression.
Moreover, the film glorifies police brutality, excusing heinous acts because they target criminals. Female characters are victimized to emphasize the hero's protective role. The villain is equally exaggerated, with Jackie Shroff's portrayal of Babbar Sher overshadowing the character's sinister actions in 'Theri'.
The film also leans on tired action backdrops like shipping docks. Primarily, Baby John serves as a platform for Dhawan to showcase his range as a 'masala hero'. The leads Keerthy Suresh and Wamiqa Gabbi, despite their talent, are underutilized.
In sum, 'Baby John' is an unrelenting spectacle that sacrifices substance for larger-than-life characters and visuals.
