WELCOME TO THE SHETTY’S
Officially started in 2011 with the colossal success of the first SinghamRohit Shetty's Cop Universe really took shape in 2018 with Simmba. In total, the Indian filmmaker's extended universe is available through four films and a series recently released on Amazon Prime Video. With Singham Againthe fifth feature film in this saga, the objective was to offer a sum opus that would bring together all the heroes previous films and would introduce new ones.
It is no coincidence that Rohit Shetty has long been nicknamed the Indian Michael Bay. Indeed, its formula is very simple. His films are synonyms of generous spectaclechaotic explosions, perilous stunts and fearsome practical effects. More recently, the director has also followed the example of his American master by adding drone shots to his range. But now, for several years we have seen an obvious fatigue in his cinema. The once effective recipe turns into self-parody.
This trend is unfortunately confirmed by Singham Again. The spectator looking for a great spectacle finds himself faced with a soulless feature film. Beyond its particularly laborious rhythm, the film is sorely lacking in generositythe only quality that still saved Shetty's cinema. Previously very critical of blockbusters depending solely on digital effects, the director gives us a final action sequence with more green screens than the rest of his filmography. Between lazy inlays and hideous effects, it's hard to believe that the budget went anywhere other than the pockets of the stars on screen.
The worst being that Rohit Shetty seems totally aware that his film has nothing more to offer. So much so that he throws all his celebrity appearances at us without the slightest coherence in a desperate attempt to capture our attention. From the most absurd meta wink to a pitiful and illogical post-credits sequence, Singham Again is a huge admission of failure which would be sad if it were not so unpleasant to endure. On screen, Ajay Devgan mechanically recites his score. The calamitous writing even pushes the fabulous Deepika Padukone to play out of tune.
MYTHO-LOGIE
In recent years, Indian cinema has reappropriated and modernized Hindu epic stories – we can cite Kalki 2898 AD, RRR or even Brahmastra. Although they are not always successful, these projects have the merit of experimenting and taking risks. Singham Again tries to ride this wave of mythological blockbusters by drawing a crude parallel between its history and that of the Ramayana. Bajirao Singham having to save his kidnapped wife in Sri Lanka becomes an unsubtle replay of Rama flying to Sita's aid.
This mythological tradition could have been interesting, if only the film didn't do it in such a contrived and opportunistic way. At no point does Rohit Shetty try to innovate. While many filmmakers rewrite these ancient stories through the prism of science fiction or superhero films, the director is content to stupidly copy a ready-made structure without ever investing in it or embodying it.
This obvious laziness becomes all the more detestable when Singham Again reveals to us its nature religious TV film with an indecent budget. In line with mediocre Ram Herethe feature film has the sole aim of proving to its audience that the Ramayana is a reliable historical account. Through a crude artifice, the film is aimed more particularly at skeptical young spectators and reproaches them for the audacity of being more interested in science and education than in religion.
Once the film is finally over, it's difficult to contain a nervous laugh when we see the names of the nine screenwriters who participated in this shipwreck. The story remains programmatic from start to finish. Characters teleport according to the needs of the scenario. And the moralizing dialogues transform the vague amusement into anger. Bajirao Singham is visibly obsolete as he strings together sentences like “That's the problem with young people today” or even “When we were young, there were no cell phones and it 'was much better.'
MODI BE YOU
Rohit Shetty's cinema has always been overtly conservative. The simple fact that the filmmaker has created a universe extended to the glory of law enforcement is more than enough to prove it. But since Sooryavanshithe filmmaker takes a much more radical shift which is cause for concern. From its first sequence, Singham Again takes the opportunity to place the elements of language of the government of Narendra Modi. We talk about “New India” and “New Kashmir” to the applause of extras who seem devoted body and soul to a fascist ideology.
Even in his rare freedoms of adaptation of RamayanaShetty manages to make his film nauseating. Thus, by a twist that would be laughable if it weren't so dangerous politically, we learn during the story that the antagonist representing the evil Lanka is in reality a Muslim. Among Modi supporters, even sacred writings can become Islamophobic.
To finish brushing the government in the right direction, Singham Again redoubles its inventiveness when it comes to put in scène police violence under the most heroic angle possible. The antagonist wanting to avenge his brothers killed without warning by the super-cops at the end of Sooryavanshi could have provided an interesting reflection. It won't even be a subject in the eyes of the film which is quick to discredit it and turn it into a walking caricature.
After about 2.5 hours of unintentionally comical dialogue, the ordeal finally ends with a weak and half-hearted fight. Until the last seconds, the objective of the scenario will be to justify an execution in public rather than an arrest which would obviously be a sign of weakness. It's hard to see how Rohit Shetty and his Cop Universe could fall any lower, but the filmmaker's ability to dig a little deeper with each film almost commands respect.
