Implausible script hides the plausible performances by Arjun Rampal and Nishikant Kamat
Mumbai Mafia is hugely likeable in films, because of the thrill and quality of being ‘unknown’. Be it you are a crime genre lover or not, such movies always fascinate.
Obviously, films must be interesting enough too. The thrill, the interest, the grip and the power to surprise are elements such films have when executed properly. But Daddy isn’t the daddy of this genre.
In fact, it lags too much to be listed in one of the best crime gangster dramas. The gangster here is the script and lack of originality.
Watch it If you like -
Performances by Arjun and Nishikant are the highlights, Few thrills and unpredictability keeps one engaged in parts
But Beware of -
Overall the script is weak and dragged intolerably, Convincing power and newness are missing factors in the film
Read Detail Review
Arjun Rampal’s produced film where he is the co-writer along with the director Ashim Ahluwalia, was a potentially interesting topic gone bad.
It just had a story it seems, how to turn it into a film was just random, because the script was not only weak, it had nothing new either, rather it tried to imitate other gangster sagas.
Alekh (Story) – Patkatha (Screenplay)
Portraying the life of gangster turned politician Arun Gawli, the biggest problem of the film lies in how the protagonist has been carved out, as a hesitant gangster or a ruthless murderer? Every now and then the film kept pendulating between the two and lost half of its convincing power. Agredd that the film wanted to show both the natures of Gawli but show them in pattern.
It’s a docu drama and both these subgenres were taken too seriously. The drama of encounter, shootings, arrest and so on went on continuously without making any sense. As if the film was speaking to itself and not the audience. Quite a lot was left on us to understand. The sound was not clear too, some of Arjun’s dialogues weren’t audible at all.
The docu part came in the second part, one event after the other on Gawli’s life kept happening as if in a hurry to finish off (and why not, the film was already dragged).
Fiction or not, the story telling needed to more focused and crisp and understandable. Also, the storytelling part is imitated from the 2010 film “Once Upon a Time in Mumbaai”, one of the crime sagas. It kept oscillating between present and past, but since this way is common now, it needed few alterations as per the film. And this style of storytelling requires a lot of good editing and grip which this film doesn’t have.
The whole old Mumbai look seems authentic, the actors lifted quite of the films; weight and made it a wee bit interesting.
Arjun Rampal as Arun Gawli is believably good in his role. He is completely natural in his praise-worthy act. So is Nishikant Kamat, very apt and effectual in his role.
Aishwarya Rajesh as Zubeida, the actress looked real and convincing. Anand Ingale as Babu, Rajesh Shringarpure as Rama and Purnanand Wandekar as Vijay were good in their roles too.
Geet Sangeet (Music)
Zindagi Mera Dance Dance is the only good song, perhaps its old that’s why. But despite being a great song it didn’t look good with the film; when the script doesn’t make sense, what songs will do? Anyhow, the background score on the other hand, is the second thing after the actors that elevated the film.
Nirnay (FilmyCurry Verdict)
If in the end you think why this film was made, then something was certainly wrong. It’s just a slow and weak take of an infamous gangster who is still alive and is in jail. For something like that, the rise from the seats should have been shocking and surprising but it isn’t.