CT review: Aamir lifts the game

Dhoom 3 is what Bollywood is all about, and if you fail to see that, choosing instead to take digs at Abhishek Bachchan and Uday Chopra, or to focus on a few inane dialogues, or the implausibility of the story, you miss the essence of mainstream entertainment.

Film: “Dhoom 3” Cast: Aamir Khan, Katrina Kaif, Abhishek Bachchan, Uday Chopra Directed by Vijay Krishna Acharya Rating: ***

The film is also the best in its series because it tries to infuse a certain emotional quotient into the narrative. What the collective star power of Hrithik Roshan and Aishwarya Rai failed to deliver in Dhoom 2 is more than salvaged by a single man – Aamir Khan. Sir, take a bow. You might not have got every moment in your act perfect but you brought gravitas to the movie.

Dhoom 3 is definitely not the perfect Bollywood entertainer. It has moments that lag. It can tire you with the endless chases. It can also disappoint you with the intermission twist.

But if you are looking for a film that is quintessentially Bollywood with lavishly mounted songs and dances, a bit of humour, a slightly melodramatic emotional core, stylishly shot action – which also makes you laugh inwards at the Chuck Norris/Rajnikanth-improbability of it all – Dhoom 3 is for you.

And all credit to cinematographer Sudeep Chatterjee for his spectacular camerawork. The shots that capture the dynamism of the ‘Great Indian Circus’ are like picture postcards. Also captivating is the film’s choreography. The tap dance structured by Dein Perry, which ushers in the titles of the film, is in one word – fantastic.

Essentially a cat and mouse game, where a smart conman is chased by forthright cop Jai (Abhishekh Bachchan) and fumbling sidekick Ali (Uday Chopra), Dhoom 3 is set in Chicago, where Sahir (Aamir Khan) has a score to settle with an ‘evil banker’ who had caused the tragic death of his father (played by a graceful Jackie Shroff). Aliya (Katrina Kaif) is the lead dancer in the circus show of Sahir. While she has little to do per se, her character assumes certain significance in shaping the final narrative.

There are several twists and turns to the story, with the conman pulling off impossible stunts. The races shift from road to river and where-all-not, and while they are initially exciting, the novelty wears off soon. You could also challenge a few scenes, for example, as to why the unmasked Sahir is not identified by the police effortlessly as the conman.

For all its faults, Dhoom 3 is Aamir’s show all the way, and director Vijay Krishna Acharya realised rightly that the film’s fortunes rests squarely on the actor’s shoulder. Unlike in earlier editions, he resists the temptation to veer, and focuses mostly on Aamir. In the tough guise or appearing gullible, Aamir brings his individuality on-screen.

While Katrina Kaif has little to do, in the first five minutes of her introduction, oh boy, isn’t she on fire! As an audition seeker, she is challenged by Sahir to earn his rapt attention for five minutes. And it is not just for Sahir, it would be hard for anyone in the audience to take their eyes off Katrina, as she gyrates, thrusts, shakes and slides her way through. Abhishek Bachchan and Uday Chopra go through their roles with customary ease.

Dhoom 3 is not for the serious critics of Bollywood. It is not for those who want to pan mainstream cinema for its excesses and implausibility. Dhoom 3 is for those who don’t mind watching cinema with all its colours and spectacle, not bothering about logic and intelligence.

Here is a sequel that gets a bigger and better life thanks to star charisma. Isn’t that what the magic of cinema is all about?