Ajay Devgn, Tamannaah, Paresh Rawal, Mahesh Manjrekar, Adhyayan Suman and Zarina Wahab
A remake of the 80s’ Bollywood cult hit of the same name, Himmatwala is the story of an honest temple priest, who takes on more than he can handle when he bears witness to a murder and gives evidence in a court of law against a powerful landlord in his village. The landlord bribes his way to freedom and engineers a ploy to ruin the priests’ reputation and his status among his peers in the village. Ashamed of his tarnished reputation, the priest commits suicide and leaves his wife and young children to face the atrocities of the evil landlord. The son flees the village and travels to Mumbai to make a life, but returns years later to avenge the shame that was caused to his family.
Taran Adarsh, Bollywood Hunagama
Himmatwala was THE film that gave an impetus to the trend of remaking South Indian films in the 1980s. Post this film, there was a sea of remakes, with Jeetendra, Sridevi, Kader Khan, Shakti Kapoor and Asrani featuring in almost every remake...
The pertinent query is, does Sajid Khan's Himmatwala recreate the magic of K. Raghavendra Rao's Himmatwala , which itself was a remake of a Telugu film? At the very outset, let me inform you that the two Himmatwala's are almost similar, yet dissimilar.
Ajay Devgn's flick is all about entertainment, entertainment and entertainment. Right from the styling to death-defying action to fiery dialogue delivered in high decibels, everything that you get to see in Himmatwala is reminiscent of the Bollywood of the 1980s. The mother-son drama, the hero-villain conflict, the heroism... even Ajay's introductory sequence is straight out of 1980s. Be forewarned, Himmatwala is 1980s cinema packaged in a new wrapping, but even if you have an appetite for the masala movies of yore or are ready to do a time travel to the angry young man of 1980s, chances are you will feel suffocated by the on-screen goings-on that Sajid Khan dishes out in the name of entertainment.
Sajid makes an attempt to pay homage to the cinema of yore, but what he delivers makes you sit motionless for most parts. If a movie fails to invoke wolf whistles or ovation at the right places, you realize something is seriously wrong. The biggest problem is Sajid does nothing, absolutely nothing out of the box or path-breaking in the current scenario to grab your attention, which is why Himmatwala fails as a film. The romance lacks fire, the drama is devoid of intensity, even the action is plain ordinary.
On the whole, Himmatwala fails as a film. The only silver lining is the presence of A-list stars and of course, the hype surrounding the film, which might attract footfalls in mass-friendly circuits initially. But as a film that promises big entertainment, Himmatwala is hugely disappointing!
VIDEO Saibal Chatterjee, NDTV
Director Sajid Khan may lack the courage to take risks but he is a very optimistic man indeed. He believes what worked in 1983 will click in 2013 too. Come to think of it, he might actually be right. Sad!
If you, in the manner of the director, accept that unalloyed bunkum can be legitimately passed off, and gleefully lapped up, as cinematic entertainment, you might even come away pleased as punch with Himmatwala. The film lacks punch, but it loses no opportunity to pun on the word and the act.
Himmatwala is a mindless potpourri that brings together the worst ingredients of 1980s Hindi cinema and parlays them into a messy mélange that quivers repeatedly under its own weight. Being a Sajid Khan film, it also has its share of item numbers that keep pace with the purposeless gags. In fact, Himmatwala opens with an item number – Sonakshi Sinha sways rather disinterestedly to Thank God, It’s Friday – in a nightclub called Funkytown Disco. And who is the owner of this disco? It’s Chunkey Pandey. He tells us that on the last day of every month, his dance floor turns into a bare-knuckles boxing ring.
Devgn gives Himmatwala his best shot but stepping into the Jumping Jack’s boots while strutting around in the garb of a bone-crunching terminator can’t be easy. He is joined in the garish Taaki taaki and Nainon mein sapna routines by Tamannaah Bhatia. Sans the thunder thighs that made Sridevi such a force, she is no patch on the real thing. Coming back to Sajid Khan, he not only believes in the ‘anything goes’ philosophy that drives a segment of the Mumbai movie industry, he also dares to go out on a limb to try and pull it off in practice.
To each his own. But you don’t really have to subject yourself to this monstrous assault on the senses, even if you are blessed with loads of
Sneha May Francis, Emirates 24X7
Himmatwala’ is a lesson in ridiculousness, and a painfully long one at that. It blatantly assaults our senses, visual and mental, leaving us severely scarred.