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regular-article-logo Friday, 22 November 2024

Bhool Bhulaiyaa 3: Kartik Aaryan battles two Manjulikas but fails to break new ground

The Anees Bazmee-directed third instalment in the horror comedy franchise features Vidya Balan, Madhuri Dixit and Triptii Dimri

Agnivo Niyogi Calcutta Published 01.11.24, 04:41 PM
Kartik Aaryan in Bhool Bhulaiyaa 3

Kartik Aaryan in Bhool Bhulaiyaa 3 IMDb

The doors of Bhool Bhulaiyaa’s haunted haveli, much like the franchise itself, simply refuse to stay shut. With Bhool Bhulaiyaa 3, director Anees Bazmee brings us back to a world where ghostly spirits named Manjulika lurk behind every creaking door, while Kartik Aaryan’s Rooh Baba — a half-shaman, half-charlatan — does his best to fend them off. The latest instalment reintroduces familiar scares and plenty of comic bluster, but fresh ideas are few and far between.

At the centre of it all is Rooh Baba, a self-styled ‘ghostbuster’ with a rakish charm and dubious talents. The story sees him returning to confront yet another spirit named Manjulika, though this time there’s a twist: the vengeful apparition could either be Vidya Balan or Madhuri Dixit, icons who add gravitas to the otherwise lacklustre storyline. The tale unfolds in predictable fashion, starting with a forbidden, padlocked door that is opened, triggering a chain of supernatural events ultimately leading to a showdown.

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The setting this time is Rakhtghat, a village in West Bengal where the ghost of Manjulika lies trapped in a mansion. A princess of the royal family, she was burned to death 200 years ago for killing her brother Devendranath, the crown prince. It is believed a member of the royal family will reincarnate to finish off Manjulika’s spirit. And the current royals think it is Rooh Baba — a doppelganger of Devendranath — who’s ordained to perform the task.

Bazmee and writer Aakash Kaushik rely on familiar devices from the previous films, counting on nostalgia over innovation to draw audiences in. The formulaic approach and recycled scares leave the film feeling more like an echo of its predecessors rather than an evolution. Even the song Ami Je Tomar, Pritam’s haunting composition that has survived across instalments, re-emerges here, remastered by Amaal Mallik. But even that feels perfunctory, a throwback that now lacks its initial punch.

Where Bhool Bhulaiyaa 3 does manage to spark some intrigue is with its two-Manjulika twist. Vidya Balan and Madhuri Dixit, both powerhouse performers, throw themselves into their roles, contorting faces and voices to embody the cursed spirit with gusto. They pull out all the stops to create tension, as Balan reprises her role and Dixit — sadly underused — is all flair. It’s a pity, though, that the promised showdown between the two actresses in the climax fizzles out long before it even begins.

Despite the dual-Manjulika setup, Bhool Bhulaiyaa 3 never truly allows these actresses to shine as fearsome counterparts, instead choosing to keep the focus firmly on Rooh Baba. As a result, Kartik Aaryan is left with the job of carrying the movie on his shoulders, and to his credit, he brings the energy that has defined his character across the franchise. Kartik’s mischievous charm and effortless ability to play the joker offer a few genuinely funny moments.

But while Kartik’s antics entertain, they can’t make up for the wafer-thin plot. Most of the gags feel like they were written with the intent of going viral on Instagram as 30-second reels. The humour, often truck-sized and broad, will appeal to those who seek out such laughs, but it never quite elevates the film beyond its repetitive plot beats.

One notable change this time around is Rooh Baba’s new love interest, Meera, played by Triptii Dimri. With Kiara Advani’s character no longer part of the story, Dimri steps in as the new object of affection for Rooh Baba. Dimri is a rising star with impressive acting chops, yet here she’s relegated to little more than eye candy.

Perhaps Bhool Bhulaiyaa 3’s most telling weakness is its inability to surprise. The single clever twist, concerning Manjulika’s identity, works in its favour but is also the film’s only standout moment. At a time when gender identity sits at the heart of global political conversations, it’s refreshing to see a mainstream Bollywood film take a progressive and inclusive stance (divulging any more would give away the main twist). Beyond that, the film plods through its motions rather than embracing the inventive streak that made the original Bhool Bhulaiyaa so memorable.

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