Sadak 2: A Review
Updated: Sep 4, 2020
Weary eyes. Weary film. But Sanjay is there.
Baggy yellow shirt he wears. She's in a Banjara costume and a choker that's obviously very designer. So, he changes his costume in between the song as they trek over a hill after marrying with a metallic blue Shiva looking on. He wears a large check shirt. Opened from neck to hip with a yellow banian within.
"Zamane ne dekhe hain rang hazaar.."
Anuradha Paudwal sings for Pooja Bhatt and Abhijeet for Sanjay Dutt. That was Sadak (1991). We all swooned at the machismo and decided to buy the shirt and wear it. Such were the days.
None of those things happen in this Sadak 2, that's supposedly a follow up to the first film. It's like Rocky 1 to Rocky 5. Straight on.
Ravi (Sanjay Dutt) is an old man now with a Shiva tattoo instead of the Shiva mandir of yore. He's just tried to hang himself since he misses his love and wife who's died three months ago. He talks to her when in strife. He's been called to mental hospitals that amazingly don't have entry or exit procedures. But a girl Aarya (Alia) arrives at his doorstep and long altercation informs us that Ravi's now dead wife Pooja (Pooja Bhatt) had promised Aarya that she would be taken by their cab to Ranikhet from where she would be able to fly to Kailash Mansarovar by helicopter. Ravi and Pooja ran a cab service that could have been a logical step up from his cab driving days in Sadak.
Anyway, he decides to take her and go for the journey, in an Audi, no one knows why. In between, they have to stop at a jail where they have to pick up Vishal (Aditya Roy Kapoor) who's done a small stint within for a supposed killing, in self-defence.
Precisely, this is where it all gets pretty hazy, chaotic and might we say, melodramatic.
A mother who wants to hurt a daughter teams up with a police officer who is also teaming up with a fake Guru who's not really the big villain, someone else is.
And Aarya wants to reveal all the shenanigans. So, they are after her.
You want to shout, "Bring on the 90s songs to make it all fulfilling". But no, they have no duets and no walking in the moonlight with backlighting a la the good old days!
This falls into the crevice between 2020 and 1991.
Sanjay Dutt makes it interesting nevertheless. Somewhere, Mahesh Bhatt may have realised that since Dutt has slowed down that bit, why not just look into his weary eyes. And it's enjoyable for a bit. And his mumbling dialogues look well on this old man. The reflexes are slow and so the fights don't work. We miss those manic arms and knuckles of yore.
Jisshu Sengupta, the father of Aarya, is competent. He has a scene where he does a minor revelation. His ability comes through in that three minutes scene.
Alia shrieks a lot. Maybe that was the brief. She does well in another revelatory scene where she suddenly clams up and walks away from the camera. A competent performer shows up instantly.
The others including a surprisingly youthful Gulshan Grover just waft in and out. Aditya Roy Kapoor must relook at his work choices. These continuously feeble performances are doing him no good.
Most of the work is on an Ooty road from Mysore. We are so reminded of Mithun Chakraborty and his factory films from the 90s and Jallad in particular, don't ask why!
The songs are boring. You forget them after one listen. The camera work is ill-lit for most of the time.
It's not like you will miss much by not seeing this film but this could be one of the last of Sanjay Dutt's magic career.
Good enough reason for one viewing!!
- Indraneel Majumdar
Available on Disney Hotstar
Director: Mahesh Bhatt
Actors: Sanjay Dutt, Pooja Bhatt, Aliya Bhatt, Aditya Roy Kapoor.
Producer: Vishesh Films.