There was once a time when the allure of Hindi blockbuster cinema shone brightly, distinct from the formulaic mythological series or the gaudy reality shows often found on satellite TV. However, in recent years, the industry has been plagued by a concerning trend of complacency and quick cash grabs, blurring the lines that once made Bollywood unique. This decline is starkly evident in “Singham Again,” a film that promised action-packed excitement and an ensemble reminiscent of superhero team-ups but ultimately falls flat, resembling more an advertisement for a cultural tourism campaign than a gripping cop saga.
The film, spearheaded by Ajay Devgn, marks the latest installment in director Rohit Shetty’s ambitious cop universe. This expansive franchise includes two previous Singham movies, alongside standalones like “Simmba” (2018) and “Sooryavanshi” (2021). Right at the outset, viewers are greeted with a disclaimer presenting an unusual twist: despite drawing inspiration from the epic tale of Lord Ram, none of the characters or narratives should be equated with the revered deities of Hindu mythology. This caveat feels discordant in the world of Rohit Shetty, where protagonists, especially the brooding supercop Bajirao Singham, are depicted with a divine aura. Every screen entry of Singham is accompanied by reverent, holy hymns, underscoring his portrayal as a living deity. This divine persona even influences mundane activities; for instance, upon entering a club, the DJ halts the music as if acknowledging his sacred presence.
Singham’s journey takes him from the sun-kissed beaches of Goa and the bustling metropolis of Mumbai to the picturesque yet volatile landscape of Kashmir, where he assumes leadership of the Special Operations Group, a key arm of the state police. The narrative gathers momentum with the reemergence of Omar Hafeez, played by Jackie Shroff, an adversary from the past. The plot thickens as Hafeez’s grandson, Zubair, portrayed by Arjun Kapoor with his trademark grin, emerges as a formidable drug kingpin based in Sri Lanka, seeking vengeance against Singham. Their tactical confrontations lead to the kidnapping of Singham’s spouse, Avni, played by Kareena Kapoor Khan, adding layers to an already complex storyline.
In a highly anticipated sequence, trailers for “Singham Again,” lasting a marathon five minutes, unveil key plot elements while dropping major spoilers about surprise appearances by Bollywood heavyweights Deepika Padukone and Tiger Shroff, in addition to expected roles from Ranveer Singh and Akshay Kumar. These cameos pivot around the central theme of the Ramayana, which is deftly interwoven into the plot through reenactments by Avni’s theatre troupe.
. These segments, however, often feel forced and awkwardly juxtaposed against the primary narrative, as evinced by characters adopting names inspired by the epic but lacking contextual relevance.
Among the cavalcade of stars, Ranveer Singh stands out as Simmba, channeling the spirited vibe of Bajrang Bali. His buoyant energy and humorous antics infuse much-needed life into a largely predictable plot. He delivers lines like “Sorry to inconvenience you, bro,” with a playful drawl, momentarily lifting the film’s energy levels. In contrast, Ajay Devgn reprises his role with a somber intensity, his portrayal of Singham remains unyieldingly stoic, detracting from the film’s potential to offer ‘mass-appeal moments’—those quintessential larger-than-life sequences typical of Shetty’s directorial repertoire. The film presents tantalizing ideas, such as Singham seemingly executing through sheer willpower, but falls short of delivering them with panache.
Conspicuous in the trailers is a scene showing Devgn beneath a saffron flag emblazoned with “Jai Shri Ram” and an emblem symbolizing the Hindu deity. The censor board’s intervention led to modifications; the flag was neutralized to a plain red, and the soundtrack was toned down. Yet, the scene’s intention remains glaring, aligning with previous films in emphasizing Singham’s Maratha legacy and Hindu identity, drawing a controversial parallel between religious fervor and patriotism.
The religious undertones are hard to miss in “Singham Again,” especially against the franchise’s backdrop of often polarizing narratives. References to Ayodhya and wordplay rooted in cultural symbolism pepper the dialogue, reinforcing majoritarian themes. Though Shetty might defend the film as mere escapism, even on that front, it falters. Its climax lacks innovation, mirroring the uninspired endings of previous entries like “Sooryavanshi.” The once vibrant Cop Universe appears to be approaching creative exhaustion, unable to be revived even by high-profile cameos.
As Ajay Devgn’s “Singham Again” screens in theaters, it reminds audiences and critics alike of Bollywood’s struggle to innovate while navigating a turbulent cultural landscape.
