In Baby John, what Varun Dhawan and Kalees are trying to prove is nothing more than a repeat of the essence of celebrated police stories like Dabangg and Singham with portrayals of larger-than-life protagonists who dominate the narrative with their charisma and moral conviction.
The film’s story also revolves around a fearless and righteous cop, typically positioned as a saviour of the oppressed, and he is depicted as an individual who defies bureaucratic hurdles and personal challenges to ensure justice. Baby John, which also features Keerthy Suresh, Wamiqa Gabbi, Rajpal Yadav, and Jackie Shroff, is Kalee’s and Atlee’s effort to recreate South’s mass masala potboilers but arrives a bit late as its previous versions have already gone through the same format. The makers also fail to understand whether the viewer would be interested in copycats or not.
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As in movies like Singham, Theri, Beast, and Dabangg, Baby John shows Varun Dhawan’s character, DCP Satya Verma, as the epitome of unwavering commitment to his duty and a unique style of delivering justice, often laced with wit and bravado, to resonate with audiences who crave strong, relatable heroes.
The antagonist of Baby John is Jackie Shroff, as powerful criminal-politician Babbar Sher, who, without any originality, serves as a formidable opponent to the protagonist, leading to an epic clash of individuals as we normally see in the recent mass-masala entertainers. Baby John, in the same old repeat battle of good and bad, is complemented by emotionally gripping narratives in an exaggerated as well as boring format, with a predictable storyline that fails to ensure a sense of thrill and spectacle for viewers.
The only difference Baby John has when compared with other recent mass police stories is one twist in the story: the idea of recreating a vigilante whose ‘rebirth’ assures many criminals are met with justice. Other than that, it has an underlying mix of socio-political commentary and emotional appeal. It touches upon themes of corruption, inequality, and societal injustice, making it more than just action-packed dramas. Here also a major question remains: how long will the audience suffer this repeat?
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Baby John has two important women actors of the country—Keerthy Suresh and Wamiqa Gabbi. Their portrayal reflects a mix of traditional and modern archetypes, shaped by the high-octane, male-centric narratives, and they have been cast in supporting roles, serving as romantic interests who add emotional depth to the hero’s journey. Their characters, Keerthy as Satya’s wife and Wamiqa as a school teacher (but with a little tint in the climax), are defined by their loyalty, kindness, and a strong moral compass, contributing to the protagonist’s personal growth or providing a softer contrast to his intense personality.
As in typical mass movies, women characters, including Satya’s daughter, are used as catalysts for the hero’s motivations, and it is being shown as they are facing danger, harassment, or tragedy, spurring the protagonist to seek justice or revenge. Their agency is limited, and their struggles tend to revolve around their relationships with male protagonists rather than their individual aspirations or conflicts.
One positive element of Baby John is the rare and innovative use of Rajpal Yadav, who makes his presence visible with a powerful dialogue: “Comedy is a serious business.” After a long time, though underdeveloped as Wamiqa’s character, Yadav has been cast well in a different avatar than his comic appearances.
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Timeline verdict: Baby John, even after an energetic performance and Atlee’s support, is a repeat police story and boring to see similar plot lines.
Baby John crew
Director: Kalees
Writer: Sumti Arora, Kalees
Music by: Thaman S
Cast: Varun Dhawan, Keerthy Suresh, Wamiqa Gabbi, Jackie Shroff, Rajpal Yadav, Sheeba Chadha, Sanya Malhotra.