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The statistics of sexual violence against women in India figure into the script, but the film doesn’t figure out what to do with that beyond having a strong, noble cop pay an eye for an eye. He keeps fighting evil and evil keeps happening because the film reflects a very fundamental flaw in the way we view systemic injustice – we don’t address the system that propagates it, instead ‘narrating’ it. Rely on one-time victory to deliver. It’s clear that the film has borrowed from real-life examples that leave your chest in knots.
But okay, it being a masala film, maybe I shouldn’t expect subtle points of social justice from the film. we let it in youngWhy hold Baby John to a different standard? I would argue that the films are only slightly different from each other – young Just a better distraction; much improved.
And without this nuance, the film’s consistently well-intentioned efforts to center the women in their arcs feel like gimmicks. The only character who has escaped this treatment (for now) is Gabi. People actually start laughing when Satya says to his wife, “You were like a second mother to me”.
The leitmotif of ‘Baby John’ and S Thaman’s simple background score are a relief – it has a foot-tapping quality. Action Choreography (in) multiple The action sequence) is derivative but still impressive. Personally, I really enjoy when people use objects from their surroundings in action scenes – this is evident from my point of view. Strike. From PVC pipes to scales, Baby (aka Satya) uses anything as a ruthless weapon and there’s also something charming about the colors he wears around his wrists.
