‘Ganapath Part 1’: A Solid Concept Marred by Shoddy Execution.
By Renuka Vyavahare
Synopsis: In a dystopian future, the disparity between rich and poor can only be eliminated by the chosen one aka ‘Ganapath’, the ultimate warrior (Yoddha), who must lead the resistance against an oppressive regime headed by an undisclosed villain, Dalini.
Review: Vikas Bahl’s futuristic action drama explores the dichotomy between the ultra-rich and ultra-poor, that compels a reluctant Guddu to become Ganapath (Tiger Shroff).
It all starts with a war that divides our society into two parts. Rich people create the high-tech ‘Silver City’, where you see more drones than humans. The poor, who wear clothes that need to show that they are poor, are dumped in ‘Gareebon ki Basti’. They have no food, water, shelter, or money except for hope. They believe that their future rests in the hands of Ganapath, their saviour. Turns out, Guddu, who is happy with his rich and promiscuous lifestyle in silver city is the chosen one! Guddu is loyal to his mentor ‘John, the Englishman’ (Palestinian actor Ziad Bakri in a key role) until they part ways unceremoniously. What is Guddu’s past and real identity? Who is Shiva?
In a world where the rich are getting richer and poor, poorer, Ganapath comes up with a concept that imitates our hard-hitting reality. The premise comes as a breath of fresh air in Bollywood, that rarely addresses socio-political crisis in its storylines now. However, something of this nature and an origin story needs tremendous world building. Blending themes of sci-fi, mythology and reality can be tough to achieve.
The film’s excessive need to offer filmy entertainment through a grave social conflict harms the execution and the story’s immense potential. Unnecessary songs, romance, and humour feel like an interruption to an otherwise grim plot. Shoddy graphics stick out like a sore thumb. They do little to elevate the film’s scale or bring the director’s vision to life.
Those familiar with trailblazing films like Mad Max: Fury Road, Dune and Neill Blomkamp’s District 9 and Elysium, can tell how relevant and immersive Ganapath could have been with the right execution. There are few decent performances but even those don’t salvage the lack of consistency in the treatment and mood.
Tiger Shroff needs to work harder on his dialogue delivery and needs emotional investment in the roles he portrays. The writing resorts to a Mumbaiyya twang but lacks punch. Lines like “Duniya haseenon ka mela, Aapun bohot khela”, “Jab aapun darta hai toh bohot maarta hai” and ‘Apun ko itni padi hai ke apan aise jeetay hai jaise apanko koi padi nahi hai” make no impression.
The fight sequences are finely choreographed, and, in this area, Tiger excels. Kriti Sanon is impressive in her warrior avatar, but her character is eventually reduced to being a love interest. An actor as good as Ziad Bakri deserved a well-written character.
We wish the film stayed loyal to the world it hoped to create instead of succumbing to Bollywood tropes. Ganapath feels like a huge potential wasted.