Romeo rings in your ears as you walk inside the theatre—Shakespeare again—your head plays the infamous Kill Bill whistle, you mumble: O Romeo, Romeo, wherefore art thou Romeo?—Romeo chimes in with his boat, strumming his guitar, with jasmine wrapped around his wrist, receives a call to go on a killing spree.
Romeo is not Romeo in name—because “what’s in a name?” Shahid Kapoor amplifies the embodiment as Hussain Ustara, a stone-hearted contract killer, who kills, galloping a bit of betel juice, goes bloody while moving you to the beats. Unusually, you relish it while vibing to “Dhak Dhak Karne Laga.” The actor never misses the dance beats—every moment looks intense. He swears, lives a brutally poetic life, and is tattooed with boisterous love and vengeance.
The narrative holds its velocity on forbidden love. Hussain is in deep love with Afsah. Afsah, too, but she escapes from the truth. The love that unleashes a musically, love-filled, bloody war, that doesn’t scare you, but polarises you. Sometimes violence indeed becomes an answer—especially if there is life and love. In case you almost feel it is getting way too over the head, Jasmine in hand becomes your delicate distraction. It is a contrast that anyone can get compelled by.
Speaking of Romeo’s love, Juliet comes in the disguise of Afsha (Triptii Dimri). She lost her husband to a gang war and is bringing out her dudgeon to utter a fight against the four who played an instrumental role in the killing of her husband. Hussain becomes her partner in the hunt. Afsha finds herself in a dilemma, as she smells new love. It unfolds in its own space—as they embrace each other’s pains as their own.
Avinash Tiwary as Jalal is the prime antagonist. Jalal fights bulls in Spain like a devouring monster. He is broad, muscular and intimidating. He speaks devotion to his lady, Rabia (Tamannaah Bhatia). Rabia is a painter. Rabia has her role entangled within the secrets of the gang war and other atrocities. Emotions drive Rabia, and her integrity remains intact.
Nana Patekar as Ismail Khan owns his moment as an authoritative counterpoint, navigating the city’s complex web of crime and power.
Rain, bullets and blood give you the ultimate sensation in the second half. It swirls within the “dhoom” and “jhoom” of it—Hussain single-handedly slaughters with no mercy, sprinkles acid, and is on a quest to bomb up the entire crime syndicate in Mumbai, set in the 90s.
The sequential Spain adds colour to the pulp of narrative. You almost find yourself in the moment of Mascaradas, bursting with feathers and some wild moves. Romeo (Hussain) travels to Spain after almost losing his life to rescue his love, Afsah, and to kill Jalal.
This poetic purge demands that you sit back and watch to the end. Every follow-up tails up to a newer sub-layer, and you wait there to witness how the love of Romeo and Juliet unfolds—followed by the bloodbath.
It is a fight for love. For what kind of lover are you if you can’t fight for it? The lovers embrace each other and shoot bullets concurrently—with melodies ringing all over.
And all of those reasons that you watch the film for—you watch it also because it is yet another Vishal Bhardwaj film.
IWMBuzz rates it 4/5 stars.
