The theme of Babumoshai Bandookbaaz deals with two semi-gangsters from Uttar Pradesh. Babu Bihari (Nawazuddin) and Banke Bihari (Jatin) are both contract killers, who often get paid to bump off the same game. At one point, they get their lines crossed and end up fighting each other as well. A strong plot like this deserved a better execution than it received by the team of the film. Undoubtedly, this is not Nawaz’s best delivery and we are sure he knows that. Bidita Bag is an interesting find for Bollywood and Jatin Goswami’s impresses; his lean frame and interesting voice lend to his screen appeal. The script fails to explore characters and thus it is really tough for the audience to connect with the film. There are some spontaneous moments which are full of humour, but even those cannot save the otherwise under-average movie.

Babumoshai Bandookbaaz has got the ingredients, but their proportions are not right. If you laugh at a Nawaz jibe then you also sense the futility of useless conspiracies. Sometimes for absolutely no reason. Then there is a twist that’s as forced as Nawazuddin stroking his hair in every second scene. Those who want to compare it with Gangs Of Wasseypur will deeply feel about the lack of in-depth back-stories. Solely dependent on Nawazuddin Siddiqui’s rugged image, Babumoshai Bandookbaaz lacks a cohesive script. Its texture is close to a web series than a film where twists happen to keep the story afloat till the next episode. Nandy doesn’t use them to cover-up the script loopholes. Bidita Bag as gutsy and ambiguous Fulwa adds steam. Her expressive eyes tell the tales of a young lonely woman among wolves disguised as men. Her comfort level during intimate scenes with Nawazuddin fetches attention. Her sensuousness adds a new dimension to her cobbler girl. Babumoshai Bandookbaaz appears superficial because it fails to explore characters and their idiosyncrasies. It states everything about them in a matter of fact tone which eventually slacken the audience’s connect with them. It’s a film pretending to be a stylishly raw gangster saga originated in the interiors of the Hindi heartland, but in reality, it’s nothing more than another attempt to look at the crime prone lower strata of society through a rose tinted glass. Sadly, Babumoshai Bandookbaaz never pierces our hearts.

Babumoshai Bandookbaaz, scripted by Ghalib Asad Bhopali, may seem authentic in terms of its location and lingo, but its plot is riddled with holes the size of craters. Even the ever-dependable Nawazuddin Siddiqui, hard pressed to pump life into the poorly conceived titular character of a coldblooded contract killer, can do little to salvage the film. Babumoshai Bandookbaaz hurtles towards an insipid, unintelligible climax, which includes a bout of Russian roulette between two adversaries. It is, in the end, much ado about nothing because the outcome of the life-and-death contest is as predictable as everything else in the film. Nawazuddin isn't at his best for he can be only as good as the script allows him to be. Bidita Bag makes a fair fist of her first Bollywood lead role. Jatin Goswami, too, makes his presence felt. Another proven actor who finds herself hard done by amid the mayhem is Divya Dutta. The only surprise - nay, shock - that Babumoshai Bandookbaaz delivers is an instrumental rendition of a Rabindranath Tagore hymn (Aguner Parashmoni) arranged by composer Debojyoti Mishra for the end credits. Has the bard ever had such an ignominy heaped upon him - tailed so casually to a film that revels in blood and gore? The lyric is a prayer seeking purification by fire. If that is what the makers of this film are looking for, let it be said that even a full-fledged inferno cannot purge Babumoshai Bandookbaaz.

Babu Bihari (Nawazuddin) and Banke Bihari (Jatin) are both contract killers in Uttar Pradesh, who often get paid to bump off the same game. At one point, they get their lines crossed and end up fighting each other as well. If you have feasted on cinema noir, this one serves up no surprises. The screenplay could have definitely been tighter. Yet Kushan Nandy gives you a film that you find yourself compulsively watching. Ghalib Asad Bhopali has got the goon-dictionary pat and his lines add grit to proceedings. Nawazuddin’s self-deprecating remarks and his seamless transformation from killer to lover is applause-worthy. Jatin Goswami’s impresses; his lean frame and interesting voice lend to his screen appeal. Bidita is an interesting find for Bollywood. Not only does she smooch and seduce with a raw intensity, she wins brownie points for a couple of emotional scenes as well. Shraddha is tailor-made as the curly-haired nautch girl and kicks up a storm when she grooves to Hai Re Hai Mera Ghunghta. Divya as the local behenji, who eats scented paan and spits fire is effective.