Indian cinema’s dynamism is undeniable, with films like “RRR” and “Pathaan” achieving global recognition. Amidst this wave, “Baby John” emerges, a remake of the Tamil action thriller “Theri,” directed by Kalees. While remakes often walk a tightrope, “Baby John” strives to be more than a mere copy, aiming for a director’s cut feel that expands upon its source material.
The core narrative of “Baby John” remains faithful to “Theri.” John D’Silva (Varun Dhawan), a baker in Kerala, lives peacefully with his daughter Khushi and business partner Jackky (Rajpal Yadav). However, an altercation with local thugs threatens to resurface his violent past he buried five years prior. The film mirrors “Theri” in numerous scenes, almost shot-for-shot, potentially leading viewers familiar with the original to dismiss it as a direct replica. However, this would be a premature judgment.
Alt text: Intense close-up of Varun Dhawan as John D’Silva in Baby John movie, highlighting his determined expression.
Expanding the Universe: Nanaji and Enhanced Worldbuilding
Where “Baby John” truly distinguishes itself is in its world-building, particularly concerning the antagonist. In “Theri,” the villain was a corrupt politician. “Baby John” elevates this by introducing Nanaji (played with chilling effect), a figure embodying malevolent narcissism and a god-complex. This Nanaji isn’t just a dirty politician; he’s the mastermind behind a vast sex-trafficking operation. This transformation deepens the film’s thematic resonance. The assault on a schoolgirl by Nanaji’s son, a pivotal plot point, becomes a chilling commentary on systemic misogyny and the dark implications of patriarchal parenting.
Alt text: Rajpal Yadav and Varun Dhawan in Baby John movie scene, depicting a friendly interaction between their characters.
A Masala Potboiler with Heart: Action, Music, and Social Commentary
“Baby John” utilizes Nanaji’s criminal empire to propel a sharper social commentary on the pervasive issues of abduction, sexual assault, and violence against women in India. Echoing director Atlee’s own “Jawan,” the film burns with righteous anger against socio-political injustices. While its message isn’t subtle, the powerful performances of Dhawan and Yadav ensure its delivery is impactful.
Tara (Wamiqa Gabbi), Khushi’s schoolteacher, also receives a significant upgrade from her “Theri” counterpart. Initially appearing similar, her character arc takes an unexpected turn, evolving beyond a mere love interest into a fully realized individual with her own agency and a standout action sequence.
Alt text: Wamiqa Gabbi as Tara in Baby John, showcasing her character’s resolute and strong demeanor.
Dhawan excels in action sequences, embodying the righteous fury of a vigilante. Yadav, known for comedic roles, delivers a surprisingly powerful and gut-wrenching performance in a pivotal monologue, adding emotional depth to the film.
Minor Setbacks: Sound and Technical Aspects
Ultimately, your enjoyment of “Baby John” hinges on your appreciation for the masala genre. It embraces all the tropes: flashbacks, a larger-than-life hero, vengeance, and elaborate musical numbers. While not as visually symbolic or experientially rich as “Jawan,” “Baby John” does suffer from technical issues. The sound mix occasionally becomes distorted, particularly during impassioned dialogues, disrupting the viewing experience and detracting from Kiran Koushik’s visually striking cinematography.
Alt text: Varun Dhawan in an action-packed scene from Baby John movie, emphasizing the film’s high-octane action sequences.
Despite these shortcomings, “Baby John” is an entertaining watch. The strong performances from Dhawan, Yadav, Shroff, and Gabbi, along with Keerthy Suresh’s Hindi debut, and vibrant action sequences, contribute to its appeal. While it might lack the sleekness of “Theri,” its enhanced world-building and aesthetic, reminiscent of 90s Hong Kong and Hollywood action cinema, make “Baby John” a worthwhile masala film experience.
