Cirkus Movie Review: For his adaptation of The Comedy of Errors by William Shakespeare, Rohit Shetty infringes on Vishal Bhardwaj’s creative space.
Shakespeare’s play about two sets of identical twins who become mixed up has been adapted for the big screen numerous times, with Gulzar’s Angoor standing out as the best.
Angoor is not Cirkus. Like angoor khatte hain more.
Shetty’s formulaic entertainers look and sound the same and are overcrowded, outrageous, excessively bright, and loud animals eager to laugh the hardest at their own jokes.
Cirkus is all of that, as well as being incredibly dull and silly.
Take this example: “Darwaza khula rakhna kyonki mein doorbell bajane layak nahi raha,” the man groans while squashing his fingers.
A close-knit environment is the perfect setting for The Comedy of Errors, which was made even funnier by Gulzar’s rhythmic wit and the diverse cast, which was led by Sanjeev Kumar and Deven Verma.
It’s clear that Shetty has seen Angoor, but I’m unsure if he read Shakespeare before deciding on the script—unless mistyping the title is his interpretation of it.
Shetty’s broad style focuses on external diversions and laborious messages rather than understanding the revolving door pattern of its anarchic humor.
Cirkus, which is set in the 1960s, makes sure that technology does not interfere and gives the director plenty of room to focus on nostalgic excess.
All the world is a stage, but from Shetty’s perspective, it resembles a recently painted, glitzy tin box.
Be careful if you’re photosensitive because the screen is covered with the gaudiest colors of candy and kitsch.
The visual onslaught must be experienced to be believed. There are vintage cars, trains, trams, hotels made of brown brick, workers wearing The Grand Budapest Hotel costumes, promenades, and walks covered in flowers in every color imaginable.
Despite all of its dazzling glitz, the circus itself only contributes minimally to the plot.
Without any stunts or extravagance, Shetty could have called the film Post Office and it wouldn’t have changed a thing. Its time period also lacks context.
It would be like wrapping an empty box of old masterpieces from Bhoot Bangla, Johnny Mera Naam, Prince, and Haath Ki Safai without making them into a punchline.
Before fully embracing its fake 1960s vibe, Cirkus goes back in time to the mid-1940s, when Roy (Murali Sharma) and Joy (Uday Tikekar), two former residents of the Jamnadas orphanage, which is well-known to the creators of the Golmaal series, swap one of each set of twins in an effort to demonstrate that parvarish is more powerful than Khoon.
Both sets of twin boys are given the names Roy and Joy by their adoptive parents. Let’s name the characters played by Ranveer Singh and Varun Sharma, respectively, Roy 1 and Joy 1 of Ooty and Roy 2 and Joy 2 of Bangalore.
Roy One possesses a superpower.
He can handle electrical currents with his bare hands and earns a career at the family circus by using high-voltage wires.
His nickname among Ooty residents is Electric Man.
He is wed to Pooja Hegde, a purportedly best-selling author, whose motto in life is “Main maa nahi ban Sakti.”
Roy 1 refuses to adopt because he thinks Khoon is more powerful than parvarish.
Roy 2 is the family company manager and enjoys reading pulp fiction.
Jacqueline Fernandez, his adoring lover, has a rich, conceited dummy father (Sanjay Mishra), who sounds like Dev Anand parodying Dev Anand, who is certain that his potential son-in-law is bad.
Trouble starts when he follows Roy 2 and Joy 2 to Ooty, where a trio of thieves, led by Siddhartha Jadhav, their hero the gangster Johnny Lever, a gun-toting aunt, Sulbha Arya, a snake-tattooed cab driver, Vrajesh Hirjee, a jewelry designer who rambles Urdu poetry, Brijendra Kala, and a former dacoit turned
The shoddy writing only has two running jokes in its arsenal of broad comedy, adding to the boredom of Shetty regulars performing their vocab-challenged shout-and-rant routine in ludicrous wigs and garish costumes.
Someone receives a shock. Someone receives a slap.
Even in the absence of new humor, Sanjay Mishra, Siddhartha Jadhav, and Johnny Lever remain dedicated to making their five-year-old followers laugh.
However, Murali Sharma is not Kader Khan, therefore his attempts to break the fourth wall while demonstrating that humanity triumphs over heritage are unsuccessful.
Comedy, not boredom, is where Cirkus forgets to find it.
Despite being considered as Roy 1 and 2’s sidekicks, Joy 1 and 2 are written as siblings.
Deven Varma had bhaang in Angoor. In Cirkus, Varun is not even given a cookie.
The camera will only see the vibrancy.
The leads are wholly discolored.
Ranveer Singh’s middle name is “energy.” He resembles the class clown on a bad day in Cirkus, though.
He portrays both Roys as though they were robots with a single expression and no sense of humor or emotion. Even the always-upbeat Varun Sharma appears to have been grounded for entering a stranger’s party without permission.
The chemistry between Ranveer and Varun is nonexistent. Or Ranveer’s romantic interests.
Speaking of love, Deepika Padukone exhibits more sass in one item song than Pooja Hedge and Jacqueline Fernandez do throughout the entire film.
Moushumi Chatterjee and Deepti Naval got into a fight in 1982. We are back to arm candy in 2022.
Cirkus Movie Review: Best Review IMDB
Raj Kapoor preferred his 1971 film Mera Naam Joker beyond any other he had produced throughout his career.
“I put my heart and soul into the movie, but the box office did not like it.” He had claimed that this movie was his particular kid.
It appears that Rohit Shetty also put everything of himself into Cirkus, a new film in which his direction departs significantly from that of Golmaal and Singham.
He really brings emotion to this.
However, in doing so, he veers off course to the point that he makes you think of what Congressman Rahul Gandhi is saying during his Bharat Jodo Yatra, where he is speaking about brotherhood and humanity while forgetting that the electorate does not want a lecture. It resulted in the BJP’s thumping victory in the Gujarat elections.
In his haste to deliver a social message, director Rohit Shetty neglects to give the movie any “tadka,” or amusement.
The movie, which is set in the late 1960s and explores adoption and parenting, is tedious from the get-go.
Shakespeare’s The Comedy of Errors served as the inspiration for the story, which Gulzar had previously adapted for the 1982 film Angoor, starring Sanjeev Kumar and Deven Verma in dual roles.
In Cirkus, screenwriter Yunus Sajawal has done a copy-and-paste job by substituting Ranveer Singh for Roy and Varun Sharma for Joy in place of those excellent actors.
It’s a distinct situation because the first Roy in this case is a “electric man,” but the second Roy is a businessman.
A circus is by definition an entertainment or spectacle that frequently features trained animal performances as well as displays of human bravery and ability.
There is none at this Cirkus in Ooty.
The main character just holds two cables and allows current to flow through his body between jokers’ random jumping acts.
WhatsApp jokes can also be used as dialogue in films.
Shetty leads us to assume that this is what is meant by “entertainment.”
“Tu film mein kyon tha bhai?” should be the question posed to Varun Sharma in his own language.
The same is true for Pooja Hegde’s expressionless performance and Jacqueline Fernandez, who vanishes in the blink of an eye.
The movie is only held together by Sanjay Mishra and Siddhartha Jadhav.
Mishra’s delivery of the language falls flat in the first half, with no brilliant one-liners, but he has his moments in the second.
If he receives further acting roles, Jadhav, who is played to perfection as a Johnny Lever protégé, will undoubtedly become Bollywood’s next Johnny Lever.
Deepika Padukone and her song, Current Laga Re, are the only things the movie has going for it.