For the past few years, Bollywood has been in a state of flux, grappling with defining what makes for a truly great film. A longstanding theory is that a brilliant movie stems from sharp minds synergizing effectively and executing impeccable material. This thought lingered as I watched Manoj Bajpayee headline his 100th film—Bhaiyya Ji. Despite the milestone, the film falls short of expectations, ultimately becoming one of cinema’s letdowns for this illustrious actor.
Bhaiyya Ji, an action, crime, drama film directed by Apoorv Singh Karki, features a notable cast including Manoj Bajpayee, Vipin Sharma, and Zoya Hussain. The film has received a rating of 1.5/5, and for good reason. The primary question that arises while watching Bhaiyya Ji is the perennial one: What does one make of flawless performances in movies that don’t elevate themselves to match the genius of their leading actors? Bajpayee is outstanding as always, yet the movie doesn’t seem to do him enough justice, making his landmark 100th film experience more of a disappointment than a celebration.
At its peak moments, Bhaiyya Ji manages to be dull but mostly lacks the impactful punch to earn its place as a masala fare. Unlike Rohit Shetty’s productions that deftly manipulate the audience with melodrama, or the sleek presentation of Atlee’s Jawan (2023), Bhaiyya Ji struggles to make the audience feel engaged. Films like Singham or Jawan hit the mark not because of their intricate plots, but because of their emotional and visceral appeal. In contrast, Bhaiyya Ji leaves viewers feeling somewhat passive and disengaged.
Understanding the choice of Bajpayee in taking up this film is essential. Given his impressive track record of dodging stereotypes and crafting a niche with assured performances, Bajpayee is at a point in his career where taking risks seems acceptable. He might have embraced the whimsy of the film, thinking it would be fun. However, even he could not salvage this revenge drama’s lackluster and repetitive narrative. It’s clear that every time Bajpayee appears on screen, he aims to have a good time, but unfortunately, this enjoyment doesn’t translate to audience satisfaction.
Bhaiyya Ji fits a very familiar prototype. It could as well have been titled KGF 10 or Pushpa Reloaded because it follows the same narrative syntax.
. Although the film is described as a desi John Wick with action sequences choreographed by Fefsi Vijayan—known for his work in Salman Khan’s Wanted (2009)—it doesn’t live up to even half that promise. The problem lies in the predictability. Fans of Bajpayee expect originality from his projects, even in his wildest endeavors like Shirish Kunder’s Mrs. Serial Killer (2020). Yet Bhaiyya Ji fails to deliver, further compounded by the fatigue of the genre’s tropes. The endless reiteration of heroes with God complexes, laden with gore and grit, no longer impresses; instead, it often induces yawns.
The storyline is predictably tenure. The death of Bhaiyya Ji’s younger brother at the hands of a local politician’s son ignites a vengeful rampage. We hear proclamations such as, ‘Yeh Robinhood nahin, uska baap hai,’ but Daddy Robinhood’s visceral havoc doesn’t bring anything new to the table. Hand-to-hand fights, slow-motion gun draws, colorful expletives, and loud, poorly scored background music become tiring rather than thrilling. Though the performances themselves are strong, with Vipin Sharma delivering memorable lines, Zoya Hussain making striking appearances, and Suvinder Vicky being a treat to watch, they cannot save the faltering plot.
Not calling this film Bajpayee’s worst, but certainly deficient in originality and excitement. The film’s overly serious tone leaves no room for fun—there are no wisecracks, no engaging banter with the audience—nothing that lends it a unique voice. Had Bhaiyya Ji taken itself less seriously and joined the audience in a bit of self-deprecating humor, it might have resonated better. Director Apoorv Singh Karki could take a leaf out of Anirudh Iyer’s book, whose film An Action Hero (2022) tackled similar themes but with a fresh twist and flair.
In summation, Bhaiyya Ji is another point of contemplation for Bollywood on what truly binds a great film together. It is a product of a larger confusion that has been pervasive for years. This movie provides a stark reminder that even with flawless performances like Bajpayee’s, the lack of cohesive and compelling narratives can render a project forgettable. As a significant milestone, Bajpayee’s 100th film is unfortunately a missed opportunity in what could have been a celebratory landmark in his career.
