Varun Dhawan’s latest venture, Baby John, rings in Christmas with a cacophonic entertainer that dives into Kerala’s backwaters and resurfaces with a north-meets-south action spectacle. Directed by Kalees and presented by Atlee, this film plays on Varun’s evolving image, showcasing a character arc reminiscent of Atlee’s Theri while striving for reinvention.
“Baby John” Movie Review: A Bollywood Star in a Southern Masala World
Recycling Old Twists and Turns: While Theri found success with Vijay’s stardom, its near scene-for-scene recreation in Baby John feels outdated. By 2024, the once predictable twists have lost their edge, leaving the audience a step ahead of the story. The non-linear editing adds no value, serving merely as a gimmick.
The Male Savior Trope Gets Old: The film’s portrayal of women remains a glaring flaw. Female characters played by talented actors like Keerthy Suresh and Wamiqa Gabbi are relegated to supporting roles that exist solely to elevate the hero. Even Rajpal Yadav’s sidekick character, Ram Sevak, receives more narrative importance.
- A mix of north-south cinematic styles
- Inspired by the 2016 Tamil hit Theri
- Directed by Kalees and presented by Atlee
A Vigilante’s Tale with Extra-Judicial Thrills
Where Baby John finds footing is in its depiction of a kind-hearted police officer, Satya Varma (Varun Dhawan). Initially, Satya focuses on reform rather than violent encounters, but the entry of antagonist Babbar Sher (Jackie Shroff) forces a shift to vigilantism. This transformation forms the crux of the narrative, albeit with exaggerated violence.
- Varun Dhawan as Officer Satya Varma
- Jackie Shroff as villain Babbar Sher
- Themes of justice and revenge
Over-The-Top Action and Drama: Director Kalees turns action into the centerpiece, indulging in prolonged, gory sequences. The relentless bloodbaths, designed for mass appeal, overshadow the emotional nuances, leaving little room for subtlety.
Lost in the Noise
Thaman’s energetic background score pairs well with Sunil Rodrigues’ action choreography. However, the emotional depth and well-written dialogues are drowned in the din of overproduced mass moments. Even the clever inside jokes lose their charm due to heavy-handed execution.
Child actors like Zara Zyanna bring genuine sparks early on, but their roles eventually serve as emotional tools to justify the film’s revenge arc. The manipulative treatment clashes with the disclaimer’s assurances, making the moral stance murky.
Despite Varun’s earnest performance, Jackie Shroff’s portrayal of Babbar Sher steals the spotlight. His eccentric villainy and signature leg-on-chair pose leave a lasting impression, providing the film’s most memorable moments.
While Baby John delivers moments of entertainment, its outdated twists, exaggerated violence, and questionable social messages weigh it down. Varun’s effort to shed his Bollywood “babyhood” and Jackie’s flamboyant villainy provide highlights, but the overall execution leaves much to be desired.
Key Takeaways
- Energetic performances but cliched storytelling
- Overemphasis on action over emotional depth
- Varun Dhawan’s reinvention overshadowed by Jackie Shroff’s villainy
Will Varun Dhawan’s dive into Southern masala with Baby John mark a turning point, or does it highlight Bollywood’s struggle to adapt cross-cultural cinema? Only time will tell.
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