O’ Romeo
Cast: Shahid Kapoor, Triptii Dimri, Avinash Tiwary, Farida Jalal, Vikrant Massey, Nana Patekar, Disha Patani
Director: Vishal Bharadwaj
Rating: ★★★
When an emotional, high-voltage scene on screen makes you titter instead of tearing up, you know something is not right. Somewhere between the filmmaker’s intent and the audience’s reception, the emotion gets lost in translation. That is the central tragedy of Vishal Bhardwaj’s most massy film yet, O’Romeo.
Stepping away from his trademark Shakespearean tragedies (though cheekily retaining the influence in the title), Bhardwaj attempts a revenge saga laced with romance. The problem is that the two impulses rarely find balance.
O’Romeo story
The story revolves around Afshan (Triptii Dimri), who approaches Ustraa (Shahid Kapoor), a quirky gangster who infamously murders people with his ustraas. She wants him to take a ‘supaari’ on four individuals. He dismisses her at first, but is slowly convinced as he begins to see the depth of her intent. In the process, he also falls for her. Where this uneasy alliance leads forms the rest of the narrative. Thrown into the mix along the way are Julie (Disha Patani) and Jalal (Avinash Tiwary).
O’Romeo review
Vishal Bhardwaj has a knack for creating immersive worlds, and O’Romeo (story by Hussain Zaidi, screenplay by Vishal Bhardwaj and Rohan Narula) initially pulls you right in. The film opens with a slick action sequence featuring Shahid, set to Madhuri Dixit and Anil Kapoor’s Dhak Dhak Karne Laga, instantly setting the tone. Shahid in unhinged mode is almost always a good time, and the early scenes between him and Triptii are crackling with promise. Even a brief game of chess becomes oddly riveting in Bhardwaj’s hands.
Until it doesn’t. Once the narrative shifts abroad, the film begins to lose its grip on its own momentum. The subplots, particularly in the second half, test your patience as you wait for the focus to return to the central romance and the mission’s urgency. Bhardwaj gets a lot right in terms of mood and texture, but the steam visibly evaporates by the time the climax rolls in. And then, in true O’Romeo fashion, it goes completely bonkers.
The background score and music, both by Vishal himself, add a lot of value. Paan Ki Dukaan is insane fun, with Shahid killing it on the dance floor.
Performance-wise too, Shahid is easily the film’s biggest draw, and the primary reason it remains watchable on the big screen. A close second is Triptii Dimri, who slips comfortably into Vishal Bhardwaj’s universe. Together, their chemistry is convincing and gives the film some of its most engaging moments. Avinash Tiwary attempts something refreshingly new for him, playing a vicious gangster, but the writing never allows him to rise above a familiar caricature. Tamannaah Bhatia, cast as Avinash’s traumatised wife, barely registers in the larger scheme of things and feels underutilised. Disha’s track leads to nowhere ultimately. Nana Patekar is dependable, as always.
Overall, O’Romeo has moments that remind you why Bhardwaj remains one of our most distinctive filmmakers, but they are scattered across a narrative that loses emotional clarity along the way. Despite Shahid’s wild energy and a few stylish flourishes, the film struggles to find its emotional core. It is watchable, even fun in parts, but rarely affecting in the way Bhardwaj’s best work is. You walk out entertained in flashes… and strangely unmoved.
