It was Walt Disney with Snow White and the Seven Dwarfs who was the first to licence the characters in a feature film, opening a new era in merchandising opportunities. Although it is probably never the sanest of ideas to take a comparative approach to Indian cinema and even more perilous comparing it to Hollywood but the trend for franchises and franchise building is something common to many film industries. The Dhoom 3 marketing campaign, an expensive one, orchestrated by Yash Raj has seen the main leads including Aamir Khan and Katrina Kaif making a point of promoting the merchandising launched specially to tie in with the film’s release. Nothing new here then, just more vertical integration. Films like Dhoom 3 are tentpole films and this is one which has been promoted aggressively as one of the must film events of the year will surely succeed at the box office. The term ‘critic proof’ has become synonymous with franchises in particular and although critics arguably don’t have the sway they once did, they are still a barometer of quality and taste. Although Dhoom 3 has been greeted with mixed reviews, having seen the film, in my opinion, many of the reviews by certainly the mainstream critics could be accused of hyper inflation. Of course, no such accusatory fingerpointing stands any chance of being taken seriously in the face of a saturated screenings, consensual back patting and intensive marketing. I don’t want to be overly cynical about tentpole films since I enjoyed both of the first Dhoom films as mildly diverting. Mainstream big budget films tend to be an easy target for reviewers and critics but when a film is made such with sloppiness and somewhat contempt for the audience then it is a film that needs to be singled out and criticised for its failings. Dhoom 3 is part of a franchise and considering the various revenue streams a film of this commerciality can generate inevitably means a film’s content can be end up a casualty of the creative process. This seems to be the case with Dhoom 3, a film so inept, contemptful and ridiculous that it made me walk out before the end credits started to roll.
The key attraction of Dhoom 3 is star Aamir Khan, one of the highest paid and most respected of actors, who simply looks out of place in this nonsensical universe. None of it is particularly convincing. The story of a son who wants to avenge his father’s death caused by a heartless banker has a Dickensian ring to it but why Chicago and why 1990 as a point of reference for the film’s narrative? Aamir Khan maintains a singular facial expression throughout, which I can only label as thoroughly pissed off, while Katrina’s role as a glorified stripper implies a continuing appropriation of demeaning sexual imagery often found in gangsta rap music videos. In fact, Katrina’s presence is unjustified and cynically related to the marketing of the film. Equally troublesome are the set pieces which border on the ridiculous whereas the dialogue is ladened with enough cliches to put any Bollywood ‘B’ movie to shame. Most embarrassing and problematic is the direction by Vijay Krishna Acharya, the writer of the first Dhoom films. The conflict between cop and criminal lacks any kind of energy or interest to sustain audience interest and many of the on screen encounters are absent of a vitality and chemistry much needed for a film nearing three hours. Even more problematic are the woeful songs by Pritam as none of them are particularly memorable. Perhaps it is too much of Aamir Khan as he really takes over the film, eclipsing the Dhoom brand in many ways. But this is at the expense of Jai and Ali’s characters who hardly seem to matter. Dhoom 3 amounts to nothing more than a ‘spectacular’ mess and I am having trouble recommending anything of cinematic value in the film other than the welcoming presence of Jackie Shroff. Another sore point is the blatant product placement evident throughout, signposting Mountain Dew, Apple and BMW with such vulgarity that it renders any artistic intentions a mute point indeed. The Dhoom franchise is a cash cow for Yash Raj and significant to the commercial framework of the Hindi film industry. However, like all formulas, reinvention and innovation will be key if it is to sustain itself in the future, a point which sadly goes unnoticed in this latest outing.