Babli Bouncer: 2022 Bollywood Comedy Drama

4to40.com September 28, 2022 Movie Reviews 1,717 Views

Movie Name: Babli Bouncer
Directed by: Madhur Bhandarkar
Starring: Tamannaah as Babli, Abhishek Bajaj, Sahil Vaid, Saanand Verma, Saurabh Shukla, Sabyasachi Chakrabarty, Karan Singh Chhabra
Genre: Comedy, Drama
Release Date: 23 September, 2022
Rating:
Distributed by: Disney+ Hotstar

Tamannaah as Babli, Abhishek Bajaj, Sahil Vaid, Saanand Verma, Saurabh Shukla, Sabyasachi Chakrabarty, Karan Singh Chhabra

Babli Bouncer is an upcoming Indian Hindi-language comedy-drama film directed by Madhur Bhandarkar and written by Amit Joshi, Aradhana Debnath and Madhur Bhandarkar. The film stars Tamannaah and is scheduled to be released on 23 September 2022 on Disney+ Hotstar.

The story of a small-town girl named Babli who hails from Asola Fatepur and moves to Delhi in the pursuit of a finding a job, makes it big as a bouncer.

In February 2022, Tamannaah was confirmed to be cast in lead role as a female bouncer. In the same month, Abhishek Bajaj was confirmed to be a part of the cast.

The film was announced in February 2022. The makers of the film arranged an muhurat puja for the team after the filming started.

The principal photography of the film started in mid-February 2022. The first schedule took place at Mohali, Punjab with an outdoor shoot, followed by New Delhi and was completed within 20 days. The final schedule took place in Mumbai from 22 April 2022. The film was wrapped up on 5 May 2022 in Mumbai.

The songs are composed by Tanishk Bagchi and Karan Malhotra. The lyrics are written by Tanishk Bagchi, Shabbir Ahmed and Manaswi Mohata.

Babli Bouncer is scheduled to be released directly on OTT platform Disney+ Hotstar on 23 September 2022.

Babli Bouncer: Movie Trailer

Babli Bouncer: Movie Review

In Tamannaah, Madhur Bhandarkar has a competent actor who aces the local accent as well as the emotional scenes, but she still can’t save this generic coming-of-age film with no identity of its own

After a hiatus, Madhur Bhandarkar returns with his formula of understanding a section of society through a female protagonist. Having exposing the underbelly of socialites, dance bars, and the fashion industry, Madhur now turns his lens on the booming business of bouncers in metros and its supply chain in Haryana villages

However, as it turns out, Madhur is no longer the intrepid filmmaker who gave us Page 3 and Chandni Bar. Here, he has come up with a safe film that hardly stretches the boundaries of feel-good cinema, and feels like watching a television serial in two hours, where conflicts are facile and solutions are visible from a distance. There is no attempt to seriously explore the underbelly of the nightclub business in Delhi-NCR, and it seems Madhur has stopped drawing from news headlines.

The backdrop is not novel as he is a bit late in turning the focus on Haryana where girls with beauty and brawn are excelling in fields that were earlier considered reserved for boys. Babli Bouncer hardly nudges the boxes created by Dangal and Sultan and their several spin-offs in the mainstream space. A well-meaning father (Saurabh Shukla) who allows his daughter Babli’s (Tamannaah Bhatia) dream to take wings. The village belle who misunderstands a shehri babu’s (Abhishek Bajaj) empathy as love. Of course, there is a shoulder (Sahil Vaid) to cry upon, but before she could slip, the writers come up with pads to help Babli find her feet and focus. The good thing is Amit Joshi’s dialogues keep you in good humour throughout, even if the situations turn too syrupy. Another thing that works is the father-daughter bond, that is not progressive, but heartfelt nevertheless.

In Tamannaah, Madhur has a star who seems keen on an image change. A competent actress, she is not bad in the fun and emotional parts and aces the local accent. But despite suspending disbelief, the bubbly actor doesn’t come across as a bouncer or a girl who shuns lipstick. Perhaps, someone has told her that the lead actor’s emotions should be visible from at least a kilometre. But such instructions have not been passed on to Shukla and Sahil! Such bold strokes work for the Baahubali kind of cinema, but not in subjects that demand immersion. Perhaps, Madhur didn’t want to lose out on the family audience, but it results in a generic coming-of-age film with no identity of its own.