Baby John’ Review: A Disappointing Finale to 2024 in Hindi Cinema
Baby John: A Glossy Spectacle That Lacks Depth and Direction
As curtains draw down on 2024, Hindi cinema gives us its last in the form of a commercial film, Baby John, which attempts to infuse action, comedy, and drama into it but falters at nearly every turn. This one, directed by first-time filmmaker Arjun Malhotra and starring popular actor Kunal Mehra in the titular role, proves an underwhelming attempt at closing the year on a high note.
A promising premise, let down by execution
The movie revolves around John Mathur, also known as “Baby John” by his gang due to his baby-faced charm and sly wit. A small-time con artist trying to go straight, John finds himself drawn into a larger-than-life heist that could either redeem his past or destroy his future. The premise is intriguing, but the execution is somewhat lackluster, with a bloated screenplay that seems to struggle to keep the focus.
From the very beginning, Baby John feels lost in its identity. It keeps switching between slapstick comedy, melodramatic family moments, and high-octane action sequences, often feeling more like a patchwork of ideas than a cohesive narrative. The lack of tonal consistency leaves the audience confused and disengaged.
Kunal Mehra Shines, but the Script Fails Him
One of the few redeeming qualities of the film is the charisma of Kunal Mehra. Known for his impeccable comic timing and action-hero appeal, Mehra does his best to elevate the weak material. His portrayal of Baby John is earnest and occasionally entertaining, but even his efforts cannot save a character bogged down by clichéd dialogues and predictable arcs.
Supporting actors such as Shefali Shah, who plays John’s estranged mother, and newcomer Tanya Roy as his love interest are hardly utilized. Shah, for instance, is given a shallow role that hardly does justice to her immense talent.
A Visual Spectacle Without Substance
Technically speaking, Baby John has rich production values, the film having action pieces well-crafted by international choreographers as a thriller piece, and while certainly derivative, some good visuals were lent through its cinematography and glittering set design. Without any strong narratives, the aforementioned elements fell flat, though.
The Vishal-Shekhar score is an amalgamation of everything – the dance numbers are peppy and are sure to find their mark among the youth, while the emotional numbers do little for the audience. The background score works at times, but in other places, it just seems too overpowering.
Predictable and bloated screenplay
The film’s script is its weakest point. At more than two hours and thirty minutes, Baby John outstays its welcome. It meanders on through pointless subplots and comic bits that really serve no purpose in advancing the story line. A finale that might have easily been the conclusion of an excellent movie, instead became something rather too predictable as the movie is hastily ended in an unsatisfactory fashion.
The dialogues, penned by veteran writer Rakesh Tiwari, are filled with dated humour and highly melodramatic lines that would do anything but serve in a movie targeting the modern audience. It feels out of place because most social commentary about themes such as redemption and reconciliation in a family appears too shallow and heavy-handed.
Missed Opportunities and Unfulfilled Potential
What is most disappointing about Baby John is the wasted potential. The film had all the ingredients for a memorable commercial entertainer: a bankable star, a promising concept, and a significant production budget. However, poor direction and lack of a coherent vision derail what could have been a fitting end to the year.
Debut director Arjun Malhotra proves that this is his first film: his inability to balance a host of disparate elements goes unaddressed, and despite flashes of creativity, notably in some of the better action sequences, these glimpses are infrequent and unconnected. The repeated recourse to overused themes tells one more about how formulaic and lacking in creativity most new Hindi films can be.
Audience Response and Theatrical Performances
Early audience reaction to Baby John has been mixed to adverse. A few fans of Kunal Mehra found him fine along with an energetic action movie, and many did not like a thin film and incoherence. In the season of the release, holiday seasons were packed, while big banners released other star studded movies, therefore Baby John can fight tough battle at box office.
It is left to be seen whether star power and a marketing blitz can salvage commercial prospects for this film. However, with such a lukewarm reception, Baby John cannot be expected to have a serious impact on the year-end box office tally.
A Forgettable Finale
Baby John is not a bright end to the otherwise highly eventful year for Hindi cinema. On the lines of an apt lead actor and glossy graphics, substance and originality are unfortunately missing from this film as it remains largely forgettable in the pack of fare for 2024. For the patrons who aim for a satisfaction-guaranteed cinematic journey, there is no redeeming virtue in this as the closing film for this year’s calendar.
As we enter a new year, one can only pray that Hindi cinema learns the lessons of its failures to bring forth stories that resonate both on and off the artistic levels. Unfortunately, *Baby John* serves more as a reminder of spectacle over substance.