One wonders why Rohit Dhawan chose to title his latest venture Dishoom. The word itself suggests impact, energy and the sound of a punch landing. Unfortunately, the film delivers neither the force nor the precision that its title promises. With patriotism that could put JP Dutta to shame, this supposed action-bromance confuses noise with excitement and spectacle with substance.
Despite its thankfully short runtime, Dishoom is not an easy film to sit through.
After Ki & Ka earlier this year, one is once again amused by the awkwardness with which the film begins. The title graphics arrive in oversized, eye-popping fonts reminiscent of those TLV Prasad B-grade entertainers. Then comes an opening song where our suited-up, perfectly sculpted heroes shake a leg to a forgettable number, setting the tone for what follows.
Speaking of our heroes, Dishoom appears to believe that muscles automatically translate into charisma. John Abraham’s Kabir is introduced as a no-nonsense action hero, but the performance mistakes silence for intensity. Every brooding stare, slow-motion walk and expressionless reaction feels borrowed from a forgotten template of action cinema. Varun Dhawan, meanwhile, throws himself completely into the comic act, but his constant energy rarely translates into genuine charm. His character feels less like a partner and more like a collection of exaggerated mannerisms.
What exactly is the story? Well, assuming there is one.
Dishoom revolves around India’s star batsman Viraj (no Kohli reference intended, of course) being kidnapped just before an important tournament final in the Middle East. In true Dhoom fashion, special task force officer Kabir (John Abraham) is assigned to track down the culprits. He is accompanied by Junaid (Varun Dhawan), who repeatedly insists that he isn’t Kabir’s sidekick, though the screenplay clearly disagrees.
The biggest problem with Dishoom is that it never understands what makes a buddy action film work. Films in this genre are not remembered merely for exotic locations, vehicles or elaborate action sequences. They work because the central characters have chemistry, conflict and personality. Here, the heroes barely share a compelling dynamic, and the villains are reduced to convenient obstacles.
Instead of a gripping cat-and-mouse chase, the film offers a series of disconnected situations designed purely to move the plot forward. Logic becomes an inconvenience. Characters do not make choices because they are driven by motivations; they do so because the next action sequence requires them to.
The absurdity reaches impressive levels. Jacqueline Fernandez’s character dances in what could be the most unsafe location on Earth. Viraj is trapped in an allegedly impossible-to-remove bomb jacket, which our heroes somehow dismantle in under fifty seconds. The traumatised, dehydrated and presumably exhausted cricketer then walks onto the field and plays like a champion. There is also a dog named Bradman (ahem!) that helps resolve the crisis. And let us not forget India’s External Affairs Minister, who casually arranges thousands of crores within seconds. Whoever called India a developing nation clearly never met this government.
Ironically, the most entertaining portions of Dishoom belong to characters who were never meant to carry the film.
Akshay Kumar enters the film in what is almost a revolutionary role for a mainstream superstar and completely owns it. The irony is that the film’s biggest highlight is the one element that barely contributes to its main narrative. Akshay understands the absurdity of the world he inhabits and embraces it instead of fighting it. His cameo works because it has something the central characters desperately lack: personality.
Nargis Fakhri appears in a cameo and provides a welcome distraction. Satish Kaushik is delightful in his voice role, while Parineeti Chopra makes an enjoyable appearance towards the end. In many ways, the supporting appearances leave a stronger impression than the primary cast.
The film even includes a sequence that feels like an unofficial teaser for Akshay Kumar’s Rustom. Kabir reveals that his South Indian girlfriend cheated on him with a uniform-clad Customs officer. And who exactly addresses a friend as “Customs Officer So-and-So”? Apparently, John Abraham’s Kabir does.
On the technical front, Dishoom is a mixed bag. Pritam’s music is tiring and ranks among his weaker works. “Jaaneman Aah” is particularly forgettable. Ayananka Bose’s cinematography does not match the standards expected from him, while the repeated use of the “Sau Tarah Ke” background piece becomes distracting. The sound design is decent, the dialogues work occasionally, and the production design, especially in the second half, adds some visual appeal.
As for performances, John Abraham does what he has perfected over the years: maintain a deadpan expression, ride vehicles and brood. Unfortunately, Kabir requires more than physical presence; he requires a personality. Varun Dhawan’s comic timing works in parts, but the action-comedy space does not completely suit him. His antics often remind one of Uday Chopra’s Ali from the Dhoom franchise, but Ali worked because the character had genuine warmth and innocence.
Jacqueline Fernandez’s role serves little purpose beyond being the obligatory female presence. Akshaye Khanna, however, is a welcome return. Despite being handed a half-written character, he manages to bring more life to the film than most of the cast. Rahul Dev is good to see again, though his performance remains limited. Saqib Saleem is convincing as Viraj, and Mona Ambegaonkar brings credibility to her role as the minister.
The fact that Dishoom ends within two hours is perhaps the greatest favour Rohit Dhawan does for his audience. Yet, to give credit where it is due, one can see glimpses of a commercial filmmaker who understands scale, humour and spectacle. The problem is that Dishoom never finds the balance between these elements.
It wants to be a stylish action entertainer, a buddy comedy and a patriotic spectacle all at once, but ends up being a film caught between identities.
I am reminded of a line Abhay Deol’s character tells Sonam Kapoor in Aisha:
“Well… impressive! Aise hi practice karti rahogi to ek din zaroor professional ban jaaogi.”
VERDICT: ★ 1/2
Dishoom is now streaming on JioHotsar.
