Tubelight presents a story that is completely new to the country. But the drawback is, it’s not new to the world. Many Indian audiences have already seen this story in the 2015 Hollywood flick Little Boy, based on World War II. It’s disappointing how director Kabir Khan has taken the exact story and screenplay and tweaked it in places to make it seem original.Had this been an original story and direction, the movie would have been impressive. But it seems like Kabir Khan was not in the mood to work this time as he took a perfectly beautiful film and spoiled it in his effort to ‘remake’ it!The characters in the movie seem to be wrongly placed. The acting of the supporting characters is not flawed, but their connectivity to the plot is such that you find yourself looking away from the screen mid-movie. Salman on the other hand goes full blown ‘Koi Mil Gaya’ when all that was needed from him was ‘Forest Gump’.Matin Rey Tangu has been underused.It will still become a commercial success, as Salman fans are one of the most loyal sects of this society.

It’s been a while since Salman Khan started playing a clumsy yet golden hearted man-child. He has aced this game by now and Tubelight might be his best shot at it. Most of the times, Salman mouths dialogues that are in complete contrast with his fellow beings, tone wise, but it’s the sensible writing that comes to his rescue, every time. Kabir Khan keeps devising moments to make you cry. Tubelight isn’t a science versus faith kind of a film. At times, it tries to explain the motive behind its theme ‘your faith can achieve anything’, by going The Secret (the famous self-help book by Rhonda Byrne) way, but probably it needed something more. The thing is, you know it’s Salman and he is doing something that’s opposite to his popular public image, but he does it with conviction, a lot of it. On top of it, the film is clear about its core message. I am yet not adding the festive mood to it. I will leave you with a dialogue from the film that may give you a better idea about Tubelight’s overall ‘look and feel’. This is how Laxman Singh Bisht explains his life in one sentence: ‘Pitaji ko sharaab ne, maa ko gham ne aur Gandhi Ji ko humne maar diya’ (Liquor killed father, grief killed mother, and we murdered Gandhi ji). Ironic yet effective.

To quote Salman Khan: "My films are critic-proof." So what can anyone say about a Salman Khan Eid release any way that can keep viewers from watching Tubelight? Nothing. Tubelight is all about faith. About the teachings of Mahatma Gandhi. Love, friendship, brotherhood and everything good. Kabir Khan's story exudes goodwill and moral lessons. There is so much talk of good and Laxman trying to fulfill his Gandhi checklist that Tubelight ends up coming across as a stretched parable with a happy ending. Obviously. One of the best things about Salman Khan's on-screen presence is his comic timing. Chinese actor Zhu Zhu is cast in a role that requires her to force Hindi words out of her mouth. The dialogue delivery is so unnatural that you end up feeling sorry for her. Matin Rey Tangu shines in Tubelight; the North Star in this dark firmament. The late Om Puri slips seamlessly into his role. Zeeshan Ayub is a natural at his work. He plays a jerk called Narayan who makes a living by bullying Laxman and is the only actor here apart from Tangu who can elicit some kind of emotion from the viewer. The music is average, with a hummable number in The Radio Song. The cinematography and green valleys of Manali keep you watching Tubelight even when nothing else is happening. Watch Tubelight if you have enough yakeen that you can sit through this 2.5-hour long Moral Science class. Salman Khan fans can muster up enough yakeen. As for the rest, this is no Bajrangi Bhaijaan.

Salman Khan film has one message -- love conquers all. The message is apt, the messenger not so much. It is the supporting cast led by the adorable child actor Matin Rey Tangu, father figure Om Puri and hot-head Zeeshan Ayyub that really infuses the film with a glow. Salman Khan is probably the weakest link of the Kabir Khan film. His performance lacks in nuance and all the effort he put into it is showing. Some of the film’s more likeable moments are shared between Laxman and the little boy, who’s completely edible, and an absolute natural. The supporting cast is solid. It includes the late Om Puri, as a father-figure to the brothers, and Zeeshan Ayyub as a local hothead, among others. And Sohail reprises his familiar act as the caring ‘bhai’. But when the main act isn’t convincing, the film becomes just like the title: mostly flicker with a little late glow. The one word that’s used almost in every other line in the film is ‘yakeen’. The film should have been infused with it. Here we just don’t buy it.

At the outset, one must warn people that Tubelight is a departure from your regular Salman Khan mass entertainers. Here Bollywood’s darling-star plays a child-man who doesn’t take off his shirt or flex his biceps. So the audience going in for this one, must first invest belief (or should that be disbelief?) The war sequences are poorly mounted and evoke no emotion because the filmmaker hasn’t invested in it either through evocative writing or mind-numbing montages. The film that propagates the values of family, faith and patriotism doesn’t manage to take a complete leap of faith because somewhere someone couldn't pull this one off convincingly. In fact, everything is so cloyingly sweet that you start feeling you’ve strolled into a sermon rather than a Salman movie. Pritam’s Naach Meri Jaan and Sajan Radio are magical, as is Shah Rukh Khan’s cameo as magician, Go-Go Pasha. Aseem Mishra’s camera work is largely-breathtaking. When it comes to performances--Salman laughs and cries unselfconsciously, unraveling the lesser-seen side of his macho image. He cannot move mountains with his performance but he manages to keep the faith alive. Sohail is sincere. Zhu Zhu shows spunk and young Matin entertains. And, Om Puri reminds you of the mettle unsung heroes are made of.