In the high-octane cinematic universe, where cloned soldiers self-heal and humans morph into living hard drives, the Bollywood action-thriller “Bade Miyan Chote Miyan” emerges with a concoction of mind-boggling elements intended to keep viewers at the edge of their seats. At the film’s core are the nation’s two valiant protectors – Freddy (Akshay Kumar) and Rocky (Tiger Shroff) – whose mission to salvage India unfolds over an epic three-day narrative.
Director Ali Abbas Zafar, previously lauded for crafting pulse-pounding sequences in “Tiger Zinda Hai,” seems to have lost his touch in this latest venture. Akshay Kumar and Tiger Shroff, two of Bollywood’s heavyweights in action, team up, bringing their formidable screen presence to the forefront. However, the dynamism of Prithviraj Sukumaran’s character, which draws on the menacing charm of iconic villains, isn’t enough to uplift the film’s lackluster plot.
The movie unfurls a tale of retribution with Kabir, a scorned individual whose rejected proposal for military robots prompts a vindictive spree against the country. He orchestrates the kidnapping of Priya (Sonakshi Sinha), who holds the encrypted keys to India’s defensive shield. Freddy, the consummate warrior with an audacious demeanor, and Rocky, his young and irreverent counterpart, are joined by a supporting team including intelligence agent Nisha (Manushi Chillar) and whiz hacker Pammi (Alaya F).
Unfortunately, the film’s exhausting length, tipping nearly three hours, coupled with a storyline marked by bewildering developments, weakens its grasp on the audience. The fictional advances, such as human cloning and an individual doubling as a data repository, stretch believability to its limits. Seeking clarity on these fabricated scientific leaps, a conversation with an AI scientist confirms the disconnect between the film’s fiction and actual scientific advancements. The absurdity of repurposing a human as a computer’s hard drive underlines a narrative teetering on the edge of coherence.
Despite the shortcomings in the storyline, there are isolated shards of entertainment to be found. Well-choreographed action – the hallmark of mindless but flawless extravagance – peppers the film. High-speed chases and explosive set-pieces provide the visual spectacle that genre aficionados crave. Tiger Shroff showcases his trademark agility and wit, delivering lines with a sharpness that cuts through the film’s otherwise lagging momentum. Akshay Kumar, a seasoned stunt aficionado, executes his moves with a finesse that is characteristic of his decades-long career.
The female leads, Manushi Chillar and Alaya F, inject their roles with a formidable gusto and light-heartedness, respectively. In moments devoid of preachy patriotism, the film finds its breathing space, offering reprieve from didactic underpinnings common in action genre narratives.
Despite these sporadic moments of relief, “Bade Miyan Chote Miyan” ultimately grapples with an identity crisis. It flits from one idea to the next, accumulating a mishmash of action tropes that fail to coalesce into a cogent plot. The camaraderie between Freddy and Rocky thins out, overshadowed by a convoluted plot, while the humor and social commentary simmer without truly igniting.
This sense of malaise extends beyond individual deficiencies. “Bade Miyan Chote Miyan” may well represent a larger trend of viewer fatigue, an audience grown weary from relentless exposure to the action genre. As the film careens to its conclusion, one is left with a sense of longing for more cerebral storytelling in cinema – a plea for a pivot from brawn back to brains, for a return to narratives that resonate on a level beyond mere spectacle.
In an era saturated with action-driven content across all media, “Bade Miyan Chote Miyan” fails to distinguish itself, standing as testament to the genre’s need for revitalization. The film poses a question to filmmakers and audiences alike: amidst the cacophony of flying fists and flashing explosions, where have the compelling stories gone?
