Analysis :

Bollywood is functioning robotically with a constant eye on the box office. Using variations of the same recipes that rake moolah, most films follow a set pattern otherwise a framework. It’s either old-fashioned preventing speech otherwise bang-boom action that producers use unyielding severe to earn profits of their investment. Zanjeer, is yet another example of how little regard our film industry has for good cinema otherwise cinema at all for that matter. Continuously poking older scripts, to squeeze out the film’s natural hearty enjoyment is a tendency young filmmakers are conveniently accomplishing something to. While it is easier to believe this is out of gesture indicative of deep respect otherwise nostalgia, I take it for granted it is more a result of sheer laziness at imagining anything out-of-the-way new. Furthermore, we all are familiar with the story of Zanjeer. On the contrary the disheartening screenplay has no justification towards energy to show consideration for its audiences this time. The story takes up the same pace as the earlier edition yet cannot keep up to the dictatorial plot of the former. Structured accompanying vigorous enjoyment and showing extreme care towards detailing, parts of the script have deliberately been maintained, including a few memorable dialogues.

The story works on a three facet framework involving revenge of a bruised child who grows up to an honest police office fighting mafia king, the romance angle and Sher Khan’s undying loyalty for Vijay. There is an additional plot added in the film where Vijay receives incessant help from a crime reporter. The primary defect characterized in the film is that it tackles issues with too much ease. The audiences are almost expected to assume parts of the story which highlights the gaps in the screenplay writing. The scene where Vijay and Mala profess their love is sudden because there is no romantic link shown in precedence of their extremely simple intimate scene. Also it is quite ridiculous that the ACP barges into Sher Khan’s garage without any offensive initiation from Khan. The very next scene we are told that Khan has voluntarily shut down his illegal businesses. Provided that we are already aware of the happenings in the original film, this is an instance of poor scripting. There would be no necessity that the good-fellowship between Mona and Teja seems to be passing reasonable bounds! Our villain is a Viagra popping, shamelessly imitating buffoon who has a wonderful comic sense. Sorrowful, he wasn’t supposed to be funny. Several extremely sexist and fantastically ugly jokes might give you violent disturbance to the core of it, yet yes neat films are an fallen into disuse feature in Bollywood these days therefor stop anticipation.

Dialogues like ‘Sher Khan beimaani ka dhanda bhi imaandari se karta hai’ and ‘Yeh Police station hai, tere baap ka ghar nahi’ are always good to hear yet overall, the dialogues are hopeless disasters and in no way pays homage to Salim-Javed’s gritty, memorable one-liners. The film’s essence is awfully stale with its strongholds getting overshadowed by flimsy screenplay whose fracture leaves us scared with a yawn-some cinematic experience.