Saheb Biwi Aur Gangster Returns – Film Review
Film: Saheb Biwi Aur Gangster Returns
Producer: Tigmanshu Dhulia & Rahul Mittra.
Writer Director: Tigmanshu Dhulia
Cast: Jimmy Shergill, Mahie Gill, Irfan Khan, Soha Ali Khan, Raj Babbar.
Saheb Biwi Aur Gangster Returns with Dialoguebaazi & Ghamasham Performances From Lead Players !!!
Sequels are meant for Directors who are exhausted of ideas and are themselves saturated to the extent, that they just can’t think of anything else. Otherwise why does a director of Tigmanshu Dhulia’s caliber need to succumb to the sequel suicidal route? Because what we see in this case of Saheb Biwi Aur Gangster Returns would have been better if it had not returned at all. The impact which the first part and the original one left is somehow not seen in the 2nd installment. Maybe the culprit in this could be the lack of story. TD who is credited with story, screenplay and dialogue has somehow made up with dialogues which are quite punchy one liners and teasers of sorts. Takings and execution of certain sequences are also very good but those are supposed to be the hallmark of a good director and that is what he is.
Now if we just try to review and analyze the sequel than spot on the lead players have delivered power packed performances. Jimmy Shergill as Aditya Pratap Singh takes of from where he had left, very much in the character that exudes the Royal linage and pride of the bygone era of affluence. Even in the wheel chair he is able to display the impact despite the handicap. The helplessness of being confined to a chair and at the same time demonstrating his will power to recover back and lead from the front, comes across very aptly. Even today he is able to sustain power by running a parallel business of nurturing dacoits and creating his fear and terror all around. Mahie Gill aka Madhavi is a sitting MLA but her characteristic traits are the same. This time on its Indrajeet Singh (Irfan Khan) very well known as Raja Bhaiyya, who she seduces. Irfan is in love already with Princess Ranjana (Soha Ali Khan ), who has caught the fancy of Aditya Pratap Singh, who wants to marry her on being urged by his stepmother and produce a heir to his throne. Aditya somehow manages to blackmail Ranjana’s father Birendra Singh (Raj Babbar) into marrying his daughter with him.
If at all you feel like sitting through the film is the ensemble cast. But they disappoint you to the extent that was not expected. Except for Jimmy Shergill as APS and Mahie Gill as his wife who relive their role with gusto reminding you of how the Maharajas must have lived and today they appear like the caretakers of the same Royal empire in a decadent state over a period of time. Now the new gangster in the movie is played by Irfan Khan as Indrajeet Singh who nurses an old family feud towards APS. To say the least he disappoints. There is nothing new he does in his portrayal, which he has virtually mastered with set mannerisms in stock shots, and intended sarcastic humor, which can work sometime, but not all the time. But the real miscast in the whole setup turns out to be Soha Ali Khan as Princess Ranjana, who does look a lovely Princess, but cant deliver the stuff such Princess are made of. She just moves around through her act at the expense of appearing dull and lifeless at most of the time. Such a talented actor she deserves far better roles and far better characterization to justify her persona. Than there is this new introduction in the film in the role of Inspector and younger brother of Raja Bhaiyya, that is Pravesh Rana, who really tries very hard to deliver what he can from whatever screen space he is allotted. There is one small role enacted by the Brahmin Minister, which takes the cake in its portrayal.
Mugdha Godse’s item number falls flat and creates no buzz and sensual sensation for which it was meant to be. Music by Sandeep Chowta has nothing much in store, except for the background score and some really hard hitting effects of the gunshots which most of the time are done for the pleasure of the faded and jaded royalties and for the heck of it.
And see the irony of it all the climax takes care of itself on its own, leaving the door open for yet another sequel to take off, in case this one runs the stretch.
Frankly speaking a talented director of Tigmanshu’s caliber should attempt newer genres and subjects, when he is still in his elements. And leave the sequel business to people who are bankrupt of ideas.