In one line, Bbuddah Hoga Tera Baap is Dabangg for avowed Amitabh Bachchan fans. At the end of the film, director Puri Jagannadh unabashedly admits that this is a film by a fan for the fans of the once-angry-young-man.
Bbuddah showcases what Bachchan was about and what he still can do—dance, flirt, grimace, gun down the bad guys (singlehandedly) and be amusing.
Bachchan plays Viju, a gangster and sharpshooter who returns after a period of retirement in Paris on a secret mission. But he races down the streets on a Harley, wearing floral shirts and jackets, coordinated with scarves and glasses, he no longer remains a discreet criminal. The styling in the film is squirm-worthy (in one scene he is seen in a pair of jeans with a tiger painted on it). Another eyesore is Raveena Tandon’s over-the-top performance as Kamini, a married mother of a teenager who throws herself all over Viju.
The antithesis of Viju is the zealous young ACP Karan Malhotra (Sonu Sood). When he is not fighting crime, he’s wooing his college sweetheart (Sonal Chauhan, expressionless and wooden). Her best friend (Charme Kaur) is desperate to get married and befriends the older Viju. Hema Malini appears just before the interval, lending some grace to a canvas on the verge of being cheesy.
For the most part of the first half, you wonder what the point of this enterprise is, beyond Bachchan. The ‘Go Meera’ medley of Bachchan’s hits reinforces the director’s modus operandi: create an ode to Big B.
Some of the dialogues are glib: eg “Chai-coffee mein soda acha nahin lagta.” The film is tailormade for front-benchers’ riotous hooting.
Sood, Raj and Deshpande make a strong impact within the material. Bachchan puts in energy and enthusiasm and shows glimpses of the old spark. He might be ageing, but isn’t old yet.