Written and directed by Vijay Krishna Acharya, Dhoom 3 is a stand-alone film that has been breaking global box-office records. If you, like me, missed the first two films, you will not be lost. The series follows the adventures of two Mumbai cops, Jai (Abhishek Bachchan, playing the serious one) and Ali (Uday Chopra, playing the silly one with a unique fashion sense). After an engaging opening action sequence through the streets of Chicago, they are called upon to help apprehend a bank robber Sahir (Aamir Khan), who has been leaving his mark in Hindi.
Opening in 1990 with the suicide of a circus owner (Jackie Shroff) after a bank refuses to provide an extension on his loan, his son Sahir becomes an avenger. Robbing banks and redistributing the wealth, while funding his own version of his father’s dream, Sahir’s vision for The Great Indian Circus is a bit like a Bollywood Cirque Du Soleil, and is fronted by his love interest Aaliya (Katrina Kaif).
The film’s chases are the real star, taking a clear influence from The Dark Knight. As far-fetched as they are, they never feel disorienting and are on par with the best of those in the Fast & Furious series. Remastered for IMAX, the film unfortunately has only found one US IMAX booking in Seattle (thanks Peter Jackson!), but it’s ripe for the format; the action is framed in a way that is vastly different than some contemporary Bollywood films, which borrow devices like quick cuts and wipes found in music videos or zany comedies. Despite the high-flying action, the film’s first musical number remains restrained with a few long takes.
A common flaw Dhoom unfortunately shares with many Bollywood films is the portrayal of native English-language speakers. Films intended for an audience that mix English and Hindi in every day conversation feature Americans, Brits or Canadians that speak slower and in simplified language that sounds flat, unconvincing and not natural. This will hinder the film’s ability if it were to cross over into more commercial multiplexes that don’t commonly show South Asian films.
Like my favorite Bollywood films, it addresses the central question of Indian identity abroad, exploring themes like family honor. Rather ambiguous is the film’s villain Sahir, whom we admire and understand, and like every magician, has a few tricks up his sleeve. The action takes a short pause after the intermission, to reveal the missing puzzle piece that veers into a touching family drama before unleashing a few more car/motorcycle chases. As a location, Chicago is used effectively and reflects Bollywood’s interest in Indians abroad in the context of escapism; the locale is filmed exotically as a glorious landscape of high-rises, beaches and clubs (even if it opens on a bleaker corner of town).
Dhoom 3 represents the very best of Bollywood, throwing multiple elements into a blender, including a character that potentially has autism, and creating a rather sublime and entertaining experience. Running just shy of three hours, Dhoom 3 continues to fire on all cylinders right through its remarkable and strange finale. During this season of Oscar bait, if you’re in the mood for a pure action flick, this is your movie. For those curious about Bollywood, this will make for an unorthodox entry, but Dhoom 3, along with 3 Idiots and Swades (a beautiful film currently streaming on Netflix), are great places to start.
Dhoom 3 is currently in select theaters nationwide.