‘THE BIG BULL’ SUFFERS DUE TO ITS MISFORTUNE

Rating: 3/5

Director Kookie Gulati’s film is a decent stand alone film, but the natural comparison with Hansal Mehta’s show will prove to be a dampener

It’s sheer bad luck for the makers of The Big Bull. Had Scam 1992 not existed, this film would be a sure shot winner. A piece of advice- do not compare this film with the web series, as it is a decent attempt by the makers. Yes, there are some inherent flaws, because of the nature of the story. We all know who the film is based on, but nowhere does the film use the name of the original person. It’s all a fictionalized account wherein the disclaimer uses the term ‘somewhat inspired by true events’.

Watch the trailer here: 

PLOT

Hemant Shah (Abhishek Bachchan) doesn’t wish to walk slow when it comes to making money. So what if it involves using the loopholes of the banking systems to his own advantage using illegal means?

CHECK ‘THE BIG BULL’ MOVIE VIDEO REVIEW HERE

STORY/SCREENPLAY/GENERAL

The story and screenplay are penned by Gulati and Arjun Dhawan. The dialogues are written by Ritesh Shah. You must commend the writers for intelligently giving a flow to the story. There is so much to the story of this man (Harshad Mehta, we mean) that a 144mins film can’t give justice to all the aspects. Still, the writers have attempted to their level best to make it a crisp and tight affair. The film moves at a very fast pace never allowing you to even blink. Good thing to some extent.

But in covering many things, there are portions where scenes end abruptly without a closure and a further connecting transition. This is where the film falls short. The conscious decision of using the name Hemant Shah and not Harshad Mehta also takes a toll on you as you are constantly reminded that many parts of the film would be dramatic and far from reality. Also, those who have seen Scam 1992 (almost all of you would have), will directly go back to the scenes in the series to make references and feel bad about The Big Bull for not showing something in a particular manner.

the big bull, disney hotstar, hindi, review, film, 2021
A scene from the film (image source: youtube.com)

The film isn’t bad at all. But in making the film brisk, a lot of the detailing is lost. You don’t stay with a situation for long. How the man enters the stock market, how has he acquired the skill to think ahead, what are the technicalities, how he actually makes money- are parts that don’t come out in flair and you feel the execution amiss. Overall, the film in its approach is too dramatic and hence, one should watch this one thinking it is a fictional story. If you are able to do that, you’ll really like this film. But human mind- it doesn’t easily let go of things.

The VFX is utterly poor, and this is something that could be avoided. The locations and sets seem artificial and you lose the visual connect very often. Towards the end, the credit goes to the writers for bringing in a twist to the plot, something that is not in the series and that makes you question things in reality as well. It is undoubtedly the best part of the film, giving a perspective different from what you’ve already seen.

PERFORMANCE

Abhishek Bachchan performs well. There are glimpses of his Gurukant Desai. But he moves beyond for sure and gives you a good time. He has made the character believable. Wherever he doesn’t come across shining, is because of the lag in writing in a particular scene.

Nikita Dutta should be commended for walking slow and steady in Hindi films. She appears seldom, but leaves an impact. She does fine. Sohum Shah has also acted nicely as Hemant’s brother Viren. He has made this supporting act a very strong one. He is present in almost every scene giving the main character and the narrative a fair definition.

the big bull, disney hotstar, review, film, hindi, 2021
Scenes from the film (image source: youtube.com)

Saurabh Shukla has a smaller role, and he makes a star appeal satisfactorily. You like him. Mahesh Manjrekar makes a one scene appearance and he is just okay. Supriya Pathak also appears here and there in a few scenes altogether, and she does her job perfectly. She becomes the believable mother wherever she is included. Sumit Vats performs well in the scenes dedicated to his character.

Ileana D’Cruz has maintained a dignified and disciplined posture all throughout. She suits in the role. It’s a case of right casting. Samir Soni is just okay. Nothing great about him. Ram Kapoor also comes for a few scenes and he is good with his body language and mannerisms.

READ ‘KOI JAANE NA’ MOVIE REVIEW HERE 

OTHER TECHNICALITIES

There is one romantic number in the film and one rap that plays often. Both the tracks fit the play. Background score by Sandeep Shirodkar could be better in terms of better connect. Since the film moves really fast, you feel there should have been some depth to the score for the film to grow on you. It is not bad though.

Cinematography by Vishnu Rao is good in parts, okay in some, poor in some. The angles and frames are all too simplistic and no attempt has been made to highlight certain situations through camera. The sets and locations seem too plastic. The VFX could have been made stronger. You feel unsatisfied with many parts of the film also because of the plain production design by Durgaprasad Mahapatra. It seems many a times that the characters inhabit some other planet.

Editing by Dharmendra Sharma is good. There is a reasonable back-and-forth attempt of the scenes. It is good. The pace of the film, the flow, and the transitions are fine. Some scenes seem disjointed. They could be repaired.

It’s a smart attempt. Again, the misfortune has hit the makers here. Falls short in some aspects for sure. But definitely deserves a watch. For some entertainment.

Rochak Saxena

Rochak Saxena a Mass Media Teacher, former journalist at DNA and an ardent lover of Hindi films - literally. The blog derives its name from the popular term ‘Willing Suspension of Disbelief’, most commonly used in the world of literature and cinema. Meaning to immerse yourself in an unreal world (where you know what you see on screen is fake) with a self-proclaimed/declared belief/wish to consider it real, the willing world becomes magical. It’s the same magic every Friday that drives Rochak to share things in the perspective that it needs to be observed with. Every film is different. And the difference needs to be cherished.

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