Cast of the movie Satyameva Jayate 2: John Abraham, Divya Khosla Kumar, Harsh Chhaya, Anup Soni, Gautami Kapoor, Sahil Vaid
Director of the film Satyameva Jayate 2: Milap Zaveri
Satyameva Jayate 2 Movie Rating: Half star
Watching ‘Satyameva Jayate 2’, I had a sharp sense of deja vu. In the worst possible way. Because this movie with John Abraham In And As Vigilante No. 1 could have given solid competition to the terrible movies of the 80s, which brought together action song sequences, comedy without caring too much about things like plot and characterization.
The first thing to know, and I am not going to reveal any secrets here, is that Abraham does not interpret one, not two, but three parts. You can’t get over 80 than triple roles with identical looking men. Twin brothers Satya and Jay, and their spunky father who calls himself Dadasaheb Balram Azad, share screen time to flex their heavily chiseled armored chests (56 inches still popping up) and smash the bad guys to pulp.
Said baddies have also been unearthed from a galaxy of villains of yesteryear. One is a guy who mutilates and disfigures young children and forces them to beg. Another is an accessory cop. A third party is a greedy net. The only missing inhabitant of this matrix is the crooked god man, but again, for a movie set in today’s UP, that might be asking for it.
In case we start to lose the feminine presence, there is a mother (Gautami Kapoor) in a coma and a wife (Divya Khosla) who gets flirtatious. We know, the moment we put our eyes on the figure of the mother in a coma, that she knows a secret, and the moment she opens her eyes, what she does, she looks very healthy and cordial, she will tell everything. Bed sores, muscle wasting, what’s that?
Come on, let’s not get into logic and everything. This is mainstream Bollywood. Well, let’s not do it. But can we at the very least demand that there be the appearance of a story, that the jokes are not so gross, that the lines are not so laughable, that the violence is not so gratuitous? Swords are twisted, humans become sieves, orifices open, and dialogue is conveyed in heartbreaking volumes.
The return of the vigilante unfolds in a whirlwind of strong religious iconography (there are mandires and masjids and gurdwaras in abundance, God knows how the churches were lost) and a sharp nationalism, giving the film a free pass to create so many opportunities. to wave the flag as possible. The ‘asli desh bhakt’ is Abraham’s Dada Saheb with these twisted Azad whiskers, who believes that ‘tan man dhan’ is always subordinate to ‘jan man gan’: his progeny, one politician and one policeman, are the other two pillars of kindness.
Abraham strides through this with his standard combination of gathered cuffs and gathered cuffs. Only once or twice does the naked-bodied superhero who can take on all comers with a little dimpled wink. The rest is a series of tired stereotypes and bad narratives, which refresh the dangerous idea that justice is being administered by men who assume the power to judge, jury, executioner. You would think that India is still a nation fighting for its freedom, in the same way that these ‘heroes’ keep thundering over ‘azaadi’. You’d think shoddy writing is a thing of the past. That was in the 80s. We are in 2021. What is your excuse?