Saheb, Biwi Aur Gangster 3. The title has a resonance thanks to the impact that the film's two predecessors had made. Frittering it away on a flimsy Russian roulette-style effort isn't a good idea. So when the team decides to come up with another follow-up - the final moments of this film suggest that the fourth may not be far away - it will have to go all guns blazing. Or not at all.
I missed the poignancy of a lost era, with its lost people, clinging desperately to their fading power, that Dhulia managed to create in the first two films. You can see it in Shergill's ramrod straight figure, and his awareness of the times gone by. You can see it in Gill's playing of the woman scorned, who is both drawn to and repelled by her Saheb: there's lushness in both her figure and feelings, a shared history of rancid love and hate.
The royals of Saheb Biwi Aur Gangster 3 patronise obscure traditions and look more ancient than a '70s film. It offers nothing other than a niggling ache. It's certainly a question mark on Tigmanshu's otherwise satisfactory filmography.
I missed the poignancy of a lost era, with its lost people, clinging desperately to their fading power, that Dhulia managed to create in the first two films. You can see it in Shergill's ramrod straight figure, and his awareness of the times gone by. You can see it in Gill's playing of the woman scorned, who is both drawn to and repelled by her Saheb: there's lushness in both her figure and feelings, a shared history of rancid love and hate.
The royals of Saheb Biwi Aur Gangster 3 patronise obscure traditions and look more ancient than a '70s film. It offers nothing other than a niggling ache. It's certainly a question mark on Tigmanshu's otherwise satisfactory filmography.