Movie: Bhaag Milkha Bhaag
Director: Rakeysh Omprakash Mehra
Cast: Farhan Akthar, Sonam Kapoor, Divya Dutta, Dev Gill, Yograj Singh, Art Malik, Prakash Raj, Pawan Malhotra, Dalip Tahil and Rebecca Breeds
Rating: **1/2
There is a very thin line that divides a good biopic from a bad one. The over hyped “Bhaag Milkha Bhaag”, which narrates the story of ‘Flying Sikh’, is proof to what could have been an inspiring story of a hero, who was known to us merely as a history book character, getting sabotaged due to the commercial treatment of Bollywood.
Quickly, let’s look at what I liked about the film and followed by some dissection about what went wrong.
Farhan Akthar makes BMB a film you could watch even with glaring loopholes. Despite his sincere effort to make Milkha Singh a character everybody could cheer for, the film takes a beating due to aimless and contrived screenplay.
Music by Shankar-Ehsaan-Loy may not have been used effectively by Rakeysh as a narrative medium, but it can’t be ruled out as a weak department. Songs ‘Zinda’ and ‘Bhaag Milkha’, if used at the right juncture, would have definitely made more sense.
Cinematography by Binod Pradhan is partly impressive, especially in Ladakh, where Milkha trains with India coach following a disappointment at the Melbourne Olympics. Another instance where you take notice of this department is in another training session, where Farhan flaunts his chiseled body as the rain drops slide down his body.
With a bloated running time, BMB is neither engaging nor riveting, that you don’t mind sitting through it with a smile. You’re patience is tested at regular intervals whenever it shifts back and forth in time, only to make its audiences feel cheated. There are instances with which you create an attachment, but they are gone too soon. This happens far too many times due to the non-linear narration that makes film viewing an arduous experience.
We are only reminded that we are watching a biopic when we see Milkha running, doesn’t matter wherever he was, but as long as he was running, we were convinced. I couldn’t disagree. However, when we don’t see Milkha running, which also accounts for good 50-60% percent of the story, we are given a typical Bollywood treatment with clichéd, short love sub-plots and lot of emotional trauma, which could’ve been subtly handled.
I wouldn’t rant if it was not a biopic, but when it is one, what is need to drift from the path the film should have ideally been on. Take “Paan Singh Tomar” for instance. That’s a biopic I would love to revisit as many times as possible.
There’s not much difference between the two stories. Paan Singh and Milkha Singh had pretty much everything in common if you do a close analysis, but their stories were decided to be told differently. While the story of the former was endearing and partly emotional, but it didn’t get the Bollywood thrashing unlike the latter.
Bollywood’s fascination for love sometimes is so painful. There was absolutely no need to include three short sub-plots of love featuring Sonam Kapoor, Rebecca Breeds and some Indian chick. I understand the relationship with Sonam had its funny moments, but again, what is the need to divert from the story we wanted to see. I quite liked the scenes between Divya Dutta and Farhan, but yet again I feel it was over used. And why in the hell wouldn’t Divya age?
“If you want to make a biopic, then please stop emotionally manipulating” – this is what I want to say to our dearest Rakeysh Omprakash Mehra, who makes the story of India’s finest runner into one you don’t mind forgetting.
