Crime Today News
In his latest film Sikandar, Salman Khan plays Sanjay Rajkot, the former king of Rajkot who has a massive manor and a lordly manner. Sanjay’s devoted subjects drop everything and amass like a zombie herd whenever he is in trouble – which is almost never, since he can take very good care of himself.
Apart from being a one-man army, Sanjay controls 25% of the country’s gold reserves, we are told. His mansion has a table long enough to fit a neighbourhood but he doesn’t get enough time from maintaining Pax Rajkota to pay enough attention to his wife Saisri (Rashmika Mandanna). Does this matter? It does until it doesn’t.
Sanjay’s bruising encounter with Arjun (Prateik), the odious son of the odious Maharashtra minister Pradhan (Sathyaraj), provokes Pradhan into declaring a war on Sanjay. Just like Sanjay has absolute reign over Rajkot, Pradhan too assembles the entire government machinery to take on Sanjay.
That’s about it in the latest effort from AR Murugadoss, whose chief claim to fame is stealing Christopher Nolan’s Memento for his Ghajini films. While Murugadoss’s script stops making sense early on, the dialogue by Rajat Arora, Hussain Dalal and Abbas Dalal is so dire that it is hilarious in its own right.
The 140-minute Sikandar packs in Khan’s old and new constituencies. There are mentions, in no particular order, of Gujarat, pollution, Mumbai’s Dharavi slum, the city’s taxi drivers, second-class train travel and women who want to pursue employment. Organ donation is the big cause in a film that itself sorely needs a brain transplant.
The cast includes Sharman Joshi as Sanjay’s stricken-looking retainer, Jatin Sarna as the enthusiastic taxi driver De Niro, Kishore as an ineffectual police officer and a near-unrecognisable Kajal Aggarwal. People of different ages and in various stages of helplessness look towards Sanjay for succour, which is delivered through slow-motion action scenes designed to conceal Khan’s visibly limited physical mobility.
The mass above the extra-wide shoulders moves on occasion, but Khan’s disinterest – he hasn’t played a proper character who isn’t an extension of himself since Sultan (2016) – is inescapable.
It’s the kind of film in which even the 31-year age gap between Khan and Mandanna – which is acknowledged via a line of dialogue – merits no reaction. Under Murgadoss’s severely attention-deficit direction, Sikandar staggers from one scene to the next, easily keeping pace with its lumbering hero but finding itself overtaken by its inherent ridiculousness.
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