Indian cinema’s recent global surge has redefined entertainment, breaking linguistic and cultural barriers. While epics like “RRR” captivated global audiences, a new wave of cinematic universes emerged with films like “Vikram” and “Pathaan”. Amidst this dynamic landscape, “Baby John,” a 2024 Bollywood release, arrives as a noteworthy action thriller, sparking conversations about remakes and adaptations in the modern cinematic context.
Directed by Kalees, “Baby John” is officially adapted from the 2016 Tamil blockbuster “Theri.” The narrative backbone remains largely consistent with its source material. The story centers around John D’Silva (Varun Dhawan), a seemingly ordinary baker and single father in Kerala, raising his daughter Khushi (Zara Zyanna) with the help of his business partner Jackky (Rajpal Yadav). However, John’s peaceful existence shatters when an unexpected encounter forces him to confront a past life he believed was long buried.
The parallels between “Baby John” and “Theri” are unmistakable, extending beyond the overarching plot to mirroring specific scenes in terms of shot composition and production design. For viewers familiar with Atlee’s “Theri,” the initial impression might be that of a scene-for-scene recreation. However, “Baby John” distinguishes itself by offering a richer, more developed world than its predecessor, resembling a director’s cut that expands upon the original’s foundation.
One key area where “Baby John” elevates the source material is in the portrayal of the antagonist. In “Theri,” the villain, Vanamaamalai, is a corrupt politician. “Baby John” reimagines this character, now known as Nanaji, into a far more sinister and complex figure. Played with chilling effectiveness, Nanaji transcends the archetype of a mere political adversary. The Hindi adaptation delves deeper into his psyche, revealing a narcissistic personality and a disturbing god complex. This portrayal transforms him into an almost omnipresent and menacing force.
The ironic moniker “Nanaji,” meaning grandfather, further amplifies the villain’s disturbing nature. It twists the comforting image of a grandparent into something perverse and menacing, underscoring the film’s exploration of systemic misogyny and violence against women. Nanaji’s villainy is not limited to political corruption; “Baby John” unveils a nationwide sex-trafficking operation linked to him. This expansion adds a layer of contemporary social commentary, turning his son’s act of sexual assault—a pivotal plot point—into a disturbing reflection on the cycle of malevolent misogynistic parenting and its devastating societal consequences.
Expanding on “Theri”‘s structure, “Baby John” utilizes Nanaji’s criminal empire to launch a sharper critique of the ongoing issues of abduction, sexual violence, and murder targeting women and girls in India. Echoing producer Atlee’s directorial style seen in “Jawan,” “Baby John” pulses with righteous anger against societal injustices. This powerful message is effectively delivered through the compelling performances of Varun Dhawan and Rajpal Yadav.
Wamiqa Gabbi’s portrayal of Khushi’s schoolteacher, Tara, also marks a significant development from Amy Jackson’s Annie in “Theri.” While initially mirroring the original character arc, “Baby John” introduces a significant twist, reminiscent of “Don: The Chase Begins Again,” giving Tara agency and depth beyond being just a love interest. Her transformation culminates in a visually striking neon-lit action sequence, highlighting the film’s willingness to deviate from the source material to enhance narrative impact.
Varun Dhawan excels in his role, embodying the charming yet formidable supercop who transitions into a powerful force of justice in the film’s later acts. Rajpal Yadav, known for his comedic roles, delivers a surprisingly impactful performance, particularly in a gut-wrenching monologue that showcases his dramatic range and adds emotional depth to the narrative.
Ultimately, audience reception of “Baby John 2024 Movie” will likely depend on individual tastes for masala films. The movie embraces genre conventions, featuring flashbacks, an larger-than-life hero, a vengeful quest, and vibrant musical numbers. While “Baby John” might lack the visual symbolism of “Jawan,” it compensates with strong worldbuilding and a clear homage to Hong Kong and 90s Hollywood action cinema. Technical drawbacks, such as inconsistent sound mixing that occasionally distorts dialogue, slightly detract from the experience.
Despite these minor flaws, “Baby John” offers an engaging cinematic experience. The performances from Dhawan, Yadav, Shroff, and Gabbi are commendable, alongside Keerthy Suresh’s Hindi debut and dynamic action sequences captured by cinematographer Kiran Koushik. While it might not be as streamlined as “Theri,” “Baby John” enriches the narrative with expanded worldbuilding and a distinct aesthetic, making it a worthwhile watch for action movie enthusiasts.
