In the world of cinema, the tale of a braggart finding redemption in the company of a virtuous woman is a narrative we’ve encountered time and again. Nitesh Tiwari’s ‘Bawaal’ attempted to breathe new life into this familiar arc, aiming to explore deeper themes, but unfortunately fell short in its execution. The film had the potential to be something different, but it stumbled on its way to delivering a compelling and meaningful story.
The story revolves around Ajay, a self-absorbed and boastful man residing in Lucknow, portrayed convincingly by Varun Dhawan. Ajay spends his days crafting an image of himself as a man of unmatched charisma and style, despite having little substance to back up his façade. He works as a history teacher at a local school, where his knowledge appears to be lacking, and he invests more time in trivial pursuits than in teaching his students effectively.
Enter Nisha (played by Janhvi Kapoor), a sensible and grounded individual who becomes the catalyst for Ajay’s transformation. As the film progresses, the duo embarks on a journey across various European cities tied to World War II, a subject Ajay is preparing to teach. This plotline attempts to add depth to the film but becomes burdened with harebrained notions.
One major flaw in ‘Bawaal’ is its portrayal of epilepsy, a condition that Nisha lives with. The film shockingly depicts Ajay’s disgust towards epilepsy, revealing a lack of sensitivity and awareness that is unacceptable for a film released in 2023. The insensitivity surrounding this issue persists throughout the film, leaving audiences perplexed as to why such a depiction was allowed to become a central point of conflict between the protagonists. The filmmakers missed an opportunity to shed light on epilepsy and educate viewers, instead perpetuating harmful stereotypes.
Varun Dhawan’s performance as Ajay is a saving grace in the film. He embodies the character’s low self-esteem, which hides beneath a veneer of brashness. Janhvi Kapoor, on the other hand, is given a thankless role as Nisha, who exists primarily as a tool to bolster the protagonist. While the film attempts to portray a blossoming connection between the two characters during their journey, these moments are few and far between, leaving viewers yearning for more substance.
The film also introduces a running gag involving Gujarati travelers, attempting to provide comic relief. Unfortunately, this element loses momentum and fails to contribute meaningfully to the plot, rendering it ineffective.
The heart of ‘Bawaal’ lies in the potential exploration of human connections and personal growth. However, the film fails to grasp the depth of these themes fully. It touches upon the protagonists’ growth during their tour, but this aspect is not adequately developed or given the attention it deserves.
In the end, ‘Bawaal’ falls short of what it could have been. It could have been a film that sensitively addresses important issues and delves into the complexity of human emotions. Instead, it treads on clichéd ground and leaves audiences questioning its missteps rather than celebrating its triumphs.
As viewers, we hope for more from our cinema – stories that inspire, enlighten, and resonate with our shared humanity. ‘Bawaal’ had the potential to be one such film, but it ultimately missed the mark. Let us hope that future filmmakers learn from its shortcomings and strive to create content that entertains while promoting understanding and empathy.
