What we get instead is a patchwork of feeble evasions and celebratory elaborations. At a moment when film industries worldwide are having an overdue rethink of their relationship to star privilege, an ambiguous life such as this might have offered up a cautionary tale, or at the very least some learning curve. There’s a certain old-school comic nous about an early mix-up involving women and whisky (“I was enjoying an 18-year-old on the terrace…”), but it’s otherwise sad to see an irreverent talent like Hirani tidying up generally unruly legend, and trying to reframe a lot of grimly male misbehaviour as simple misunderstanding. The women? He was irresistible and broken-hearted. Petersburg, with a fierce gaze (that can scare the wits out of you) and a scar on his face.
Today, the actor shared his first look from the movie where he is seen standing on the streets of St. Governor of Punjab when the 1919 Jallianwala Bagh massacre took place. The drugs were the actor’s way of escaping his father’s control and his mother’s decline. The movie will narrate the story of the revolutionary who assassinated Michael ODwyer, who was the Lt. Sanju opens with Dutt’s third wife Manyata (Dia Mirza) persuading an initially sceptical journalist (Anushka Sharma) to tell her suicidal hubby’s side of the story, and that’s exactly what this script does, generating nigh-on three hours of self-justification.
Everything else about this hagiography intends to make the character look good. In actuality, Kapoor proves a lightweight film’s strongest suit: he’s accumulated enough muscle mass, the bags under the eyes that speak to late-night licentiousness, even a measure of Dutt’s bad-boy swagger.
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