Nine Sins of Ali Abbas Zafar : Bloody Daddy : What ‘Masala’ Went Wrong
In the world of spices, we have MDH masala, and in the realm of cinema, we have Bollywood masala films. Now, let’s talk about our beloved filmmaker, Ali Abbas Zafar, who has gifted us with cinematic treats like Sultan and Tiger Zinda Hai. These movies are the epitome of long-lasting, larger-than-life masala entertainment. And guess what? Bloody Daddy falls right into that category. But this time, something seems off with the magic masala… Mr. Ali and it’s a sin against the sacred laws of Bollywood business!
First Sin , the too good trailer and no good climax
The trailer and teaser of Bloody Daddy were too good for the film, generating greater expectations that the film failed to deliver. Creating high expectations is very dangerous game. We were expecting an epic mix of Kabir Singh’s intensity and Desi John Wick’s badassery… or so we thought! I mean, come on! The trailer promised us the moon and stars, but the film couldn’t even deliver a measly firework.
The lack of good action was the main culprit behind this unsatisfying experience.Especially the action sequence of the second half was not up to the level set by the trailer. The second half’s action sequence was like watching a grandma trying to breakdance at a family wedding.
Filmmaker Ali is known for his climactic endings. He loves creating slow and dramatic climaxes in his films, just like he did in Sultan From start to finish, it was undeniably an Ali film. But hey, even the best chefs can have an off day, right. Maybe he left his climax-making skills in his other pants or something. Ali! Keep those climaxes spicy and satisfying! That would leave us on the edge of our seats, but instead, we got a gentle pat on the back saying, “That’s it, folks!”
Second Sin , A theory unanswered and ‘Enemy OTT’
Ali Abbas Zafar has come up with a new theory for movies – the Post-COVID content change! Yeah, you heard it right. With the whole pandemic and the rise of OTT platforms, we’re getting a personalized movie experience that’s easy on the pocket and available at our fingertips. Talk about convenience, am I right?
But hold on to your popcorn, ’cause here’s the kicker. Ali Abbas Zafar wants Bollywood to shake things up and reinvent itself. How, you ask? By bringing the multiplex experience straight to our living rooms through those nifty OTT platforms. Smart move, Ali!
And guess what inspires him? Only the big guns like the Avengers series, RRR, and KGF. Yeah, he’s all about that grand style and epic storytelling. He’s cooking up something real special, folks. His upcoming flick, “Bade Miyan, Chote Miyan 2,” is gonna follow this mind-blowing model. Get ready for some larger-than-life entertainment, my friends!
Now, let’s talk about today’s feature presentation – “Bloody Daddy.” It tried to jump on the bandwagon and embrace the whole content change idea. It did its part, gotta give ’em that. But, and here’s the kicker again, it missed out on the grand style factor. Oopsie daisy!
Third Sin – Undefined ‘Enemy OTT’
In the world of Bollywood, where glitz and glamour reign supreme, they’re now facing a new challenge: the mighty OTT! But wait, this battle isn’t new. Even before the era of TV and VCR, the film industry was fighting for survival. Hollywood had its own dilemma: is the VCR a friend or a foe? Picture Quentin Tarantino, the video store clerk turned legendary filmmaker, owing his success to the VCR. And how can we forget Steven Spielberg, who honed his filmmaking skills by raiding his dad’s treasure trove of VHS tapes, proudly flaunting his ’90s collection!
Those clunky VHS tapes didn’t just bring movies to our living room; they opened up a whole new world of creativity and possibilities. Fast forward to today, and we find ourselves asking the same question: is OTT our buddy or our arch-nemesis? Just like VHS, OTT has the power to revolutionize filmmaking, expanding its horizons to unimaginable levels. Back in the day, TV and VHS propelled the film industry forward, taking it to greater heights. And now, in this epic saga, the industry is armed with the mighty IMAX 70mm cameras and mind-blowing 7D videos.
So, you see, Ali Abbas Zafar’s grand style theory isn’t completely off the mark. But again hold your popcorn! The grandeur of OTT might have a few surprises up its sleeve, slightly different from the magic of the big screen. While Ali Abbas Zafar tried to demonstrate this theory with “Bloody Daddy,” it seems the mark was missed, my friend. But fear not, for the battle between Bollywood and OTT is far from over. Stay tuned.
Fourth Sin : Silent about Issue
Even though Ali Abbas Zafar is a master of big-budget masala films, he likes to sprinkle some social issues into his spicy concoctions. In Gunday (2014), he served up a plateful of Bangladeshi refugee woes, while Sultan (2016) was all about the sweat and struggles of success and sports. And who can forget Jogi (2022), where he took on the explosive 1984 Sikh riots?
Now, imagine if this film had an extra dash of flavor, tackling themes like Covid chaos, post-Covid crime, drugs, corrupt cops, dysfunctional family drama, and the timeless dance of father-son relationships. But alas, these ingredients seem to be missing from this particular masala dish. Well, what’s the use of discussing what’s not on the menu, right
But here’s the kicker: by keeping mum about these elements, it dampens the fire and impact of the story’s emotional rollercoaster. It’s like serving a spicy curry without any heat, leaving you with a lukewarm taste and a feeling that something’s missing.
Fifth Sin : Script Jhol: The Epic Remake Saga: Bollywood or Remakewood
Is Bollywood now the land of “Remakewood”? It’s like they’ve become the ultimate language translator, turning films from the South, Hollywood, and even Korea into their own desi versions. Remakes are already a high-stakes gamble, typically born out of smashing hits and crowd favorites. But let me tell you, even a teeny-tiny slip-up in the process can magnify the tiniest flaw and make it look like a colossal chasm compared to the original’s triumph. It’s a wild and treacherous game, my friend, where the pressure to measure up is as intense as trying to fit into your teenage jeans after a year of unlimited biryanis. Bollywood, my dear, you’ve embarked on a rollercoaster ride that’s grittier than a street brawl at 2 a.m. in Mumbai.
But hold your horses! Did you know that even the iconic film Sholay, which is hailed as one of Bollywood’s biggest blockbusters, was itself a remake? That’s right, it was a remake of The Magnificent Seven (1960), which was already a remake of Seven Samurai (1954). So, in a crazy twist of fate, Sholay ended up being a remake of a remake!
But here’s the kicker, my friend. The dynamic duo of writers, Salim-Javed, worked their magic and brewed up a masala masterpiece that hit Indian film lovers like a powerful drug. They took The Magnificent Seven (1960) and Seven Samurai (1954) and transformed it into the spicy extravaganza that is Sholay.
Now, let’s shift gears and talk about a different story altogether. Enter the writing team of Bloody Daddy, who attempted to follow in the footsteps of their predecessors. But, oh boy, did they miss the mark! I’m not just talking about their failure to create a work of art; they couldn’t even serve up a commercially-driven masala flick. They lacked the secret recipe of spices that could titillate the taste buds of avid Indian film enthusiasts.
The screenplay became a breeding ground for disaster in Bloody Daddy. It was like they threw all the ingredients into the pot and hoped for the best, but ended up with a tasteless and half-baked dish. And now, my dear reader, let’s dig deeper into the cataclysmic reasons behind this unfortunate mess. Brace yourselves for a rollercoaster ride of analysis and revelations!
French love with South Effect
I think there is a misconception. Bloody Daddy isn’t a remake of a French film; rather, it is a remake of Kamal Haasan’s “Thoongaa Vanam,” which itself was a remake of the French film “Nuit Blanche.” “Nuit Blanche” has a duration of 103 minutes, while “Sleepless” is 95 minutes long. But wait, there’s more! Bollywood enters the ring with its own rendition called “Bloody Daddy.” Now, the original “Nuit Blanche” clocks in at 103 minutes, while “Sleepless” struts its stuff for 95 minutes. But here’s the plot twist—our desi remakes, “Thoongaa Vanam” and “Bloody Daddy,” stretch their legs for a whopping 127 minutes and 121.5 minutes, respectively. Holy masala, that’s some extra spice!
Let’s take a detour to the land of baguettes and berets. “Sleepless Night” (2011), a French flick penned by Frédéric Jardin and Nicolas Saada, has been swiped left and right with three official remakes. Hollywood, being the attention-seeker it is, jumped on the bandwagon with “Sleepless” (2017), starring the talented Jamie Foxx. Our south Indian film industry was quick to show off its swag with “Thoongaa Vanam” (Sleepless Forest) back in 2015, starring none other than Kamal Haasan himself.
So, it’s a déjà vu all over again. This tale has been told four times now, folks. But here’s the million-dollar question—how does it hold up? Is it a delightful improvement, a dismal letdown, or simply lost in translation?
Time to break out the magnifying glasses and compare the scripts of these four flicks. The top contender for the crown is “Sleepless” (2017), strutting its stuff with style. Kamal Haasan’s “Thoongaa Vanam” (Sleepless Forest) lands a solid second place. The original French gem, “Nuit Blanche,” takes a respectable third spot. And last but not least, we have “Bloody Daddy,” bringing up the rear despite being the new kid on the block.
Oh boy, let’s talk about Bloody Daddy and how it falls flat compared to Kamal Haasan’s Thoongaa Vanam, which reigns supreme as a kickass adaptation. Picture this: we zoom in on a scene where they’re packaging atta (flour) as Cocaine. In the French version, the waiters were a bunch of sneaky illegal immigrants, but Thoongaa Vanam turned them into sly thieves swiping oil from the hotel. Now, hold on tight because in Bloody Daddy, these poor souls struggle to pay rent while slaving away in a fancy-schmancy 7-star hotel. Can you believe it? Running away because of rent dues? Come on, give us a break! These changes weaken the whole impact of Bloody Daddy.
So, here’s the deal: Ali and Aditya Basu took charge of the screenplay and dialogue for this remake. Let’s give a little shout-out to Siddharth-Garima too, who chipped in with dialogue and even worked on Kabir Singh. With such a dream team, we had high hopes, but sadly, they didn’t quite hit the mark. And why?
Because Frédéric Jardin and Nicolas Saada’s original draft of this film is like a Swiss cheese, full of loopholes that have torn Bloody Daddy apart. The story, despite its thrilling potential, stumbles on major issues that hit you like a ton of bricks. Let’s start with the unbelievability factor. My friend. I mean, seriously, why would a drug trafficker choose a knife to hide under a bag and start a fight instead of whipping out a good ol’ gun? It’s like they skipped common sense 101! These loopholes expose the writing’s shortcomings.
And some misfired improvisation. Picture this: Sahid pulls off an anniversary trick on Sikander. And guess what? Sikander falls for it without even a hint of suspicion. I mean, come on! How in the world did Sikander go from being a simpleton ‘Kashai the butcher’ to owning a swanky 7-star hotel? It’s a mystery only the gods can solve. These moments make the movie harder to swallow than a spoonful of wasabi.
But that’s not all! The cat and mouse chase, which should be heart-pounding, loses its edge because Sahid keeps losing fights and his son again and again. And here’s the cherry on top: who in their right mind orders a drink just after receiving an emergency call fromt their endangered child?
Bloody Daddy, being a remake of Nuit Blanche, not only inherits its captivating tale but also its inherent flaws. However, the second half of the film takes a nosedive into one fight after another, leaving a gaping hole in our hearts and failing to provide any satisfying resolution. It wanders aimlessly, toying with our emotions like a fickle lover.
To add insult to injury, the movie disappoints with its lackluster narrative and characters that are as flat as day-old soda. We’re talking lackadaisical characters with zero depth and a storyline that’s as flimsy as a wet tissue. It stumbles through scenes like a tipsy giraffe on roller skates.
Sixth Sin: Hidden Kabir Factor
Who would’ve freakin’ thunk it… Back in 1997, when Shahid Kapoor was shakin’ his leg in the third row behind Karisma Kapoor in “Dil To Pagal Hai,” little did we know he’d transform into the mighty Kabir Singh. Ah, the ’90s, when Shah Rukh Khan ruled the roost with his epic “DDLJ,” and every fresh face in Bollywood had a shot at becoming the next King Khan. Then in 2003, along came Shahid Khan with his debut lead role in “Ishq Vishk,” and boy, oh boy, did he have all the potential to become the next Shah Rukh… He had that irresistible chocolatey charm, an energy that could power a city, and dimples like Shah Rukh Khan . And let’s not forget, just like SRK, Shahid’s hair was far from ordinary… they were wild and untamed, like a freakin’ horse’s glorious mane.
Shahid Kapoor didn’t turn into the new Shah Rukh. Nope, he was always meant to be Shahid Kapoor, not some Shah Rukh wannabe. Maybe no one bothered to dig deeper into Shahid’s eyes… beyond that sweet chocolaty smile, there were those frosty eyes, deadly as a dagger, piercing through not just his heart, but very soul. Shahid wasn’t meant to be just another sugary hero; he stepped into the wrong era, the 2000s, where it seemed like everyone was destined to be Shah Rukh. That’s why, despite the triumphs of “Ishq Vishk” (2003), “Jab We Met” (2007), or “Vivah” (2006), the real Shahid remained elusive.
But fear not, for the dawn of Kabir Singh in 2019, the ruthless generation of 2020 finally connected directly with Shahid. And now, a whole new generation, far and wide, is emulating Shahid, just like Kabir Singh, marking a phenomenon we haven’t seen since “Darr” in 1993 and “Baazigar” of Shah Rukh. However, Shah Rukh finally let go of the antihero image after “DDLJ,” then comes Kabir Singh in 2019. Shahid’s Kabir Singh has become more believable and trustworthy than Rahul from “Darr” in 1993.
Take one look at Kabir Singh’s angry face and tell me, am I wrong? The teaser created the misconception that “Bloody Daddy” is just an upgraded version of the Kabir Singh Shahid, the second edition. But spoiler alert: Sumair Azad is not Kabir Singh, and it fails to resonate with the unconscious minds of the audience due to the lack of connection. There’s no iconic anthem like “Wada wao wao wada wao wao” for Sahid’s loyal fans, “The Kabirvadi.” After Kabir Singh, Sahid’s image emerges as a true lion in the industry. Lions aren’t meant to ride bicycles in the circus; that’s the job of monkeys. Lions thrive when they unleash their mighty roar, but sadly, that roar is absent in this film.
Seventh Sin: Handicapped Acting
in the realm of remakes, Shahid Kapoor dons the hat of Sumair Azad, leaving his mark like a permanent tattoo. Even Jamie Foxx and Kamal Haasan tried their hand at this role, but Shahid takes the cake, and he’s not willing to share a slice. While Shahid outshines Jamie Foxx in this portrayal, he may lack the natural essence of Kamal Haasan. Both Jamie Foxx and Kamal Haasan were too old for this role, but Shahid is perfect choice, ruling the roost., stealing the show. However, when it comes to the writing, it falls a bit short, like trying to reach a high shelf without a step stool. Maybe if there were more zesty activities, witty dialogues, and some sprinkles of magic for Sumair Azad, it could have been a spellbinding experience like in those thrilling action scenes towards the end, Shahid channels his inner John Wick, delivering intense expressions that making us say, “Wick-ed!”
And Ronit Bose Roy who etched the character of Bhairav Singh into our memories through the film Udaan (2010). Even after 13 long years, Ronit Roy fails to ignite that same fiery impact. But fear not, the spotlight shines on Ronit Roy as Sikander Choudhary, seizing the opportunity and stealing the show. Picture this: he offers the Sahid’s kid a glass of chocolate milk, a peaceful gesture after threatening to turn him into minced meat. No need for raised voices or hollering, just a calm demeanor that sends shivers down the spine of the cruelest antagonist. But alas, the character’s writing starts off with a bang, only to fizzle out like a soda losing its fizz.
Now, Sanjay Kapoor, bless his soul, fails to make a lasting impression in the film because his role was nothing to offer for any actor. His character brings nothing but crude jokes to the table. It’s like having a dull knife in the kitchen when you need a sharp blade. Interestingly enough, this same character was employed in Sleepless (2017) as the epitome of a dangerous villain, elevating the impact of the film. Sometimes, it’s the role that doesn’t quite fit the actor’s groove, leaving us wanting more.
Rajeev Khandelwal as the main villain was like a misfired bullet—more like a nerf gun in a war zone. He couldn’t pull off the tough and dirty cop act, and even in the action scenes, he looked more like he was playing cops and robbers in the park. Talk about a miscast disaster!
Now, Zeishan Quadri had a tough time with his character JAGDISH PRASHAD Jaggi. It’s like he was given a slice of pizza without any toppings, but he still managed to sprinkle some magic on it. He delivered his lines with finesse, turning a plain role into a tasty treat.
In the male-dominated world of Bloody Daddy, Diana Penty as ADITI RAWAT held her own, despite her accent. It’s like she walked into a boys’ club with a tiara on her head and said, “Hey, I’m here to play too!”. In the original and remake films, there was another female character who was saved by Shahid in the restroom. Sadly, that part was left undeveloped in this remake, making it a more male-dominated world.
And let’s give a round of applause to Sartaaj Kakkar as Atharva Azad, the son of Sumair Azad. This kid was the bait that hooked us all in, and he didn’t disappoint. He never dragged the film down, probably because he had more experience in the industry than some of us have in eating pizza. With films like Mard Ko Dard Nahin Hota (2018), Tiger Zinda Hai (2017), and Judwaa 2 (2017) under his belt, he’s a mini superstar in the making!
Eight Sin : DOP Namak Kam Tha
DOP Marcin Laskawiec and Ali have been a dynamic duo in several films like Jogi (2022), Bharat (2019), and Tiger Lives (2017). But in this particular film, something seemed to be missing, and poor Marcin wasn’t getting the spotlight he deserved. Definitely he created a neon world of crimeland, but we were eagerly waiting for those slow-motion moments, the sizzle and spice of RRR and KGF. But alas, it didn’t deliver that mouthwatering flavor we were hoping for, Ali. It’s like ordering a spicy biryani and getting a bland rice dish instead
Ninth Sin : Where Did the Music Go?”
Julius Packiam, the man behind the scores of 28 films till 2023, decided to grace five of Ali’s films with his talent: Gunday, Sultan, Tiger Zinda Hai, Bharat, and Jogi. Yeah, they were alright, but can you honestly recall anything like ‘Wada wao wao wao wao wao’ playing in your mind after the movie? Nope, not a chance.
The film fails to create any memorable music that sticks with you. Sure, there are three songs—Badsha’s Vibe, GD47’s Real Talk, and Shahid Mallya & Harsimran Singh’s Baari Barish—that momentarily make your heart skip a beat, but they don’t transform into a remarkable experience. All three songs give Gurugram a mini Punjab vibe, complete with new Punjab rap tones. The atmosphere is decent, but their charm only works in bits and pieces. Once they’re out of your ears, they vanish from your attention like a magician’s disappearing act.
GD47’s Real Talk’s background placement during the action scenes is decent, but having Badsha’s Vibe in the climax kinda throws off the focus and mood of the story. And let’s not forget the one non-Punjabi song, “Likhan Mitana” by Neka Kardoe. It doesn’t leave much of an impression, but it manages to capture the mood at the end of the story quite fittingly. But guess what? As soon as it bids farewell to your ears, it bids farewell to your attention as well.
So, , this film’s soundtrack fails to create a lasting impact that stays with you. It’s like trying to catch a fleeting melody that slips through your fingers, leaving you humming a forgettable tune.
This film suffered from weak writing, budget cuts, and a measly 36-day shooting window. It’s like the charm of Shahid and the entire movie got lost in this half-baked remake. Talk about an unsatisfying experience! The storytelling is as dull as dishwater, and the characters are as interesting as watching paint dry. It’s like a vacuum for our imagination, leaving us yearning for a lively tale with captivating personalities that can truly tug at our heartstrings and transport us to a world of enchantment and deep emotions.
Remember when Shahid himself said in an interview for Bloody Daddy’s PR, “A good film is good, a bad film is bad, and average is just average.” Well, my friends, this film is the king of average. It’s like a bland sandwich—neither a tasty treat nor a total disaster. It’s neither a commercial hit nor a total disaster. It’s just… meh. It doesn’t even come close to the grand promises Ali made. It’s light years away from the likes of KGF or RRR. And get this, the Hollywood remake of this film was a complete belly flop, both at the box office and with the critics. So much for banking on the success of a remake, huh? It takes more than that, my friends. It needs that special flavor, like the one found in the Tamil remake that actually struck gold.
Now, Bloody Daddy has more loopholes than a politician’s speech. The storytelling is as exciting as watching paint dry, and the continuity breaks are enough to make your head spin. But you know what? ? Our dear ‘apni public’ doesn’t give a hoot about all that. Just look at KGF! It had loopholes big enough to drive a truck through, and yet it was loved by the masses. Bloody Daddy could have been the indoor version of KGF, but thanks to Ali’s nine sins mentioned earlier, it missed the boat to blockbuster success.
But hey, why so serious? Don’t take Bloody Daddy too seriously, my friend. It’s not meant to be some profound masterpiece. It’s meant to be a fresh, action-packed crime thriller with a sprinkle of humor. If you’re yearning for a different kind of action flick where the hero doesn’t wear his underwear on the outside (isn’t a superman) and you’re a die-hard Shahid fan from the Kabir Singh days, then go ahead and dive right in. Trust me, you’ll get exactly what you’re craving for—a wild, wacky ride that’ll leave you chuckling and cheering for more.
Shahid Kapoor and Ronit Roy: The Sultans of Style and Grit
Action Unleashed: Thrill-a-Doodle-Doo
Freshest Thriller Flavour
Dull Storytelling like writer took a Coffee Break
Budget cut when the Budget Took a Bungee Jump
Watch or Not?
Watch it . If you’re yearning for a different kind of action flick where the hero doesn’t wear his underwear on the outside (isn’t a superman) and you’re a die-hard Shahid fan from the Kabir Singh days, then go ahead and dive right in. Trust me, you’ll get exactly what you’re craving for—a wild, wacky ride that’ll leave you chuckling and cheering for more.
Director: Ali Abbas Zafar
Cast: Shahid Kapoor , Sanjay Kapoor, Diana Penty, Ronit Bose Roy, Rajeev Khandelwal , Ankur Bhatia , Vivan Bhathena , Zeishan Quadri
Runtime: 121.5 minutes
Story: When NCB officer Sumair Azad’s undercover plan goes sideways, it’s an action-packed anarchy of blood, knives, and questionable decisions! Will Sumair recover what he wants, or will he need a blood transfusion and a new plan?