Mohenjo Daro review by Alberto
The translation of Mohenjo-daro stands for the mound of the dead men in Sindhi. Quite why the characters in the film would constantly refer to the thriving city in which they live in as that is beyond me. If you want to watch the film to get your slice of history, I suggest you read your history books again but if you are willing to fork out some hard earned cash to watch a typical Bollywood potboiler, this is the movie for you. You just have to forget that your middle school history books existed for two and a half hours.
Mohenjo Daro is Ashutosh Gowariker’s comeback after 6 long years. His last film was 2010’s Khelein Hum Jee Jaan Se- good luck trying to remember that. Hrithik Roshan returns with his chiseled body to the silver screen after 2014’s Bang Bang literally to play Salman Khan lite. Even his name Sarmaan kind of hints towards that as he does literally everything that the self proclaimed bhai of Bollywood does in his movies. Don’t get me wrong, Hrithik still does fine in the acting department and is one of the saving graces of the film but he does it all as Krrish without the cape and mask. Fight a crocodile-check, saving the heroine from mortal danger-check, single-handedly beating two cannibalistic cavemen-check. He does everything that you would want a Bollywood hero to do, even saving the whole population of Mohenjo Daro escape the legendary flood which devoured the ancient city.
Pooja Hegde has precious little to do in the movie other than act pretty with a weird bird’s nest headgear clamped onto her head. Her acting range isn’t really explored here but whatever she is asked to do, she does it.
Kabir Bedi and Arunoday Singh as Maham and his son Moonja respectively are the baddies of this flick with both hamming it up to 11. Suhasini Mulay is wasted as Maham’s wife, getting negligible screen time.
The thing that saves Mohenjo Daro other than its lead is the grand scale in which the film is shot. The camera beautifully captures the essence of the lost civilization about which precious little is known. The eye for detail in the picturesque presentation of the city is vintage Gowariker and he doesn’t disappoint.
This may be one of A.R. Rahman’s forgettable albums with only Tu Hain staying with you after you leave the theatre. The background music is decent at best and overtly long at worst.
Better leave this one in the past.