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Darbar Review

Darbar
T J Reddy / fullhyd.com
EDITOR RATING
6.0
Performances
Script
Music/Soundtrack
Visuals
7.0
4.0
8.0
7.0
Suggestions
Can watch again
No
Good for kids
Yes
Good for dates
Yes
Wait to rent it
No
Aaditya Arunasalam (Rajinikanth) is the Commissioner of Police for Mumbai, and is waging war on drugs and crime. He doesn't quite believe in the tedium offered by the country's protracted legal system. He also thinks that every city must have its top gangster, and that that gangster should be a Police Officer.

This lack of a measured and moderate approach leads him to crossing paths with Hari Chopra (Suniel Shetty). Chopra was once a local drug lord who set a building housing 27 policemen, on fire. He lacks moderation, too. He is now heir-apparent to the international drug trade. With Darbar, writer-director A R Murugadoss shows us what happens when these two hot-headed combustible elements come together in a nearly 160-minute cinematic journey.

Looking at that runtime, you may have realized that moderation with a film's length is not one of A R Murugadoss's strong suits. He tailors his films with plot beats and sequences which seemingly appeal to every quadrant of the viewing audience. While you might see nothing overtly wrong with that approach, we would like to remind you that eating everything you want to will lead you to gain a whole lot of flab.

Darbar is a textbook example of a director giving an audience everything they want instead of asking himself if everything an audience wants is everything the audience needs. Take, for example, a scene from the third act of the film that has our hero willingly speaking to the chiefs of multiple police departments from across the world. Once the conversation concludes, he turns around to his superior and says he does not need imported assistance because products originating from India are the best in the market anyway. While we appreciate his choice to cull the size of the crew under him, we need to ask, why was a scene that goes nowhere a part of this film? What purpose does it serve in the story?

And that is only the beginning, because once we scratched the surface, we had no option but to dig deeper. Moderation isn't our cup of tea either.

The film's army of superfluous characters rivals that of Arunasalam's brigade of cops. We have Lily (Nayantara), who fits into both the "love track" and the "comedy track" of the movie. So, we ask, when Lily solely satisfies these two aspects, why do we need a separate track for Yogi Babu's Kaushik bloating up the movie's runtime?

Then we have Nawab Shah's Vinod Malhotra, a proxy villain subbing in until the big bad makes his entry. With a full half of the movie devoted to this soon-to-be-neutered character and with Hari Chopra inserted into his place with no ceremony, the film robs itself of two interesting villains for the price of one.

Headscratchers like these are available aplenty. The filmmakers seem to have forgotten to moderate those.

Scratching our heads enough, however, helped us crack through the unwanted exterior and led us to the brain powering the film. The same mind that came up with all the bells and whistles also came up with some clever bits of evil on the parts of Hari Chopra and Vinod Malhotra. It also gives you a genuinely touching emotional core in the form of Valli (Nivetha Thomas). She is the daughter of our hero, Mr. Double A. While most parts of this film harken back to an age gone by, this relationship reminds us that even after 39 years, the Rajinikanth template has some unharnessed aspects to it. The comic, emotional and action bits shared between these two characters greatly help in keeping your interest firmly in the movie.

While Thomas brings the emotion, the irreplaceable Super Star brings the swagger. Few command a screen as he does. The high waisted pants and baggy casual clothes mask his physical limitations, but no amount of age can take away from his scene-stealing prowess. But there is more to Rajinikanth than the punches and punchlines. The ability to take a joke (or ten) about himself, acknowledging his constraints in a genuinely touching scene, whole-heartedly committing to action sequences, and dance numbers are all indicative of his love for and command of the craft.

Ably supporting him are Anirudh Ravichander's score and songs, Santosh Sivan's cinematography, and Sreekar Prasad's editing. The songs and score keep the energy of this flabby script up. In tandem, Sivan and Prasad shoot and edit action sequences with a few clever bits of visual trickery. The slow-mo fight scene in a train station and the Bourne-Esque climactic bit of fisticuffs make for some spellbinding viewing. All we ask is for is more of these.

More smartly choreographed fight scenes. More genuine emotion. Letting Thalaivar explore more of his immense range. More foot-tapping musical numbers. And most of all, more clever villains. Balance all of this with a tighter script, a lower runtime, and fewer extraneous bits and pieces, and Darbar would have been a masala entertainer for the ages.

In a cruel twist of fate, Darbar's expedition into the extreme doesn't make it a good film or a bad film; it ultimately becomes an ordinary one. And in our opinion, many things in life need moderation, but our reactions to a masala entertainer shouldn't be one of those.
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rahulsachinsourav123 on 10th Jan 2020, 8:27pm | Permalink
Moderation isn't our cup of tea either - Killer line in the context TJ :-)

Not just the length of the film, Murugadoss seems to lack skill to write exciting climaxes as well. Starting with Ghajini, in most of his films I felt climaxes are a bit underwhelming after all the build up.

Nivetha is a fine actress and showcased her range in her first film Nani's Gentleman beautifully. But for some reason subsequently none of Telugu directors came up with right role for her and underutilized her skills in most. Given right script and role, she showed in this how she can own the screen despite the awe-inspiring presence of Rajini in the frame.
TJ Reddy on 12th Jan 2020, 6:42am | Permalink
More than the climax, I think the whole structure of the film could be changed to match its two best ideas in it.

If act 1 was the whole Malhotra affair and act 2 began with Hari Chopra and his plan of turning every thug in Mumbai into a bounty hunter, we could have had fun shoot em up kind of movie.

Think of it like this, by the end of act 2 or the intermission point, every cop in Mumbai is scared sh*tless and that pushes Rajni's hand into becoming a rogue cop. This inspires a band of his underlings to stand by his side.
The film then becomes kind of a western where the land becomes lawless and that can lead to huge action set pieces from time to time and real gamesmanship between Aaditya and Hari Chopra. But, sadly that isnt the film we got.

To your point, Nivetha Thomas has been fantastic in so many roles. Ever since her intro in Papanasanam, she has been a breath of fresh air when it comes to converting seemingly one note roles into fully fleshed out characters. I wish her and Rajni shared a lot more scenes together. Those scenes were the best parts of the film. Watching Rajni accept his limitations in that one scene (you know which one) is so heartbreaking while also affirming that he doesn't see himslef above real life. I don't see many actors do that.

On a personal note though, that fight in the train station made me so happy. I could see so many fans identifying with Thomas in that scene. Watching Super Star kick ass with such ease and elan was just brilliant.

As always, thanks for the support, mate. Really appreciate it.
rahulsachinsourav123 on 12th Jan 2020, 10:55am | Permalink
Agree with you. Just to add, this is pretty average from Murugadoss factory with quite a new loop holes apart from unnecessary scenes. Narration was uneven as in some places its pacy & in some places its slow and screenplay too was quite odd and bloated. Nayanatara was wasted big time. But its Rajini & Nivetha who raised the bar above and made this fun. Personally I am very happy to see Rajini back in full form, as I didn't like none of his films after Robot and was very worried going into this film as well. To be fair to him, for his age we might get limited opportunities with such energy levels and looking forward to enjoy him while it lasts.

By the way, whats your opinion on Sarileru Neekavvaru? Not sure whether I am being unfair to the other reviewer but I am getting the feeling that hardcore Mahesh fan wrote that review. I am yet to watch that film and will see it whether its good or bad, after all its Mahesh :-) Hoping to get a review from you or Josh for AVPL as well.
rahulsachinsourav123 on 14th Jan 2020, 11:26am | Permalink
I take back my words regarding Sarileru Neekevvaru. I watched it and found it pretty entertaining and rating is apt. Thumbs up to the concerned reviewer.
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