Switching the venue from congested Mumbai to glossy Malaysia and casual clothing to Aki Narula's designer wardrobe hardly qualifies as revolution.Įveryone knows how it goes, but for the ignorant, this is what Don is all about. What he does is take a fairly simple but engaging storyline, strangles it mercilessly and leaves you with a shockingly unimaginative adaptation. If he wanted to make his own point, he misses it completely in this retake. He never stresses on the heroism factor or stay faithful to the story co-written by dad Javed Akhtar and Salim Khan. He doesn't recreate a bygone phase or create a new territory. The new Donneither offers masala nor sets any trend. ![]() So when filmmaker Farhan Akhtar decided to remake Chandra Barot's 1978 Don, what exactly was he trying to establish? When supporting actors were caught in a web of misunderstandings and household burdens. When jacket-sporting villains drank whisky and examined the hero with scowls and heroine with lecherous looks. When the policemen spoke like gentlemen but always arrived late on the scene of crime. ![]() When the heroine, even the tough ones, would coyly melt into the charms/arms of this hero/anti hero. Remember how it used to be? When the lead actor wasn't playing just a central character, he was the 'hero'. But it significantly represented the masala trend of the swinging 1970s. D on was never considered a sweeping classic like Deewar.
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