In “O’ Romeo,” Afsha (Triptii Dimri), a highly determined widow sets out on a quest for retribution after her husband is brutally murdered by gangsters. She enlists the help of Ustara (Shahid Kapoor), a highly sought after stone-cold contract killer. However, the pair soon learns that surviving the mob demands greater, selfless sacrifices. Ustara especially must choose between the goodwill of an ex-employer and his loyalty, sense of duty as well as growing romantic infatuation towards his client.
2026 seems to be the year of auteurs branching out. From Sriram Raghavan—the master of the contemporary Bollywood thriller—trying his hand at the anti-war genre with the exemplary “Ikkis” to Vishal Bhardwaj, most notable for plating up Shakespeare’s tragedies for the modern Indian audience. He swaps the cerebral for commercial in “O’ Romeo,” a neo-Western that shares more in common with Robert Rodriguez’s over the top offerings than with the Bard’s body of work.
A Genre-Mixing Film
Partially based on investigative journalist and author Hussain Zaidi‘s “Mafia Queens of Mumbai,” “O ‘Romeo” resembles a cross between Rodriguez’s “Once Upon a time in Mexico” and Bollywood’s own “Once Upon a Time in Mumbaai.” It also also cites Zaidi’s book “Dongri to Dubai” as its source material, with hints of the first ever Bollywood Spaghetti Western, the iconic “Sholay.” “O’ Romeo” even opens with the brooding protagonist strumming a guitar, akin to Antonio Banderas’ iconic “El Mariachi.” While yielding mixed results and far from perfect or even far from Bhardwaj’s best, it is nonetheless enjoyable. And if any or all of the works mentioned above appeal to you, then “O’ Romeo” scratches a familiar itch.
The film also marks a return to roots for the multi-talented filmmaker who composed the score for fellow auteur Ram Gopal Verma’s “Satya.” Thast timeless classic not only proved to be his breakthrough in the industry but also singlehandedly kickstarted the mafia movie craze in Bollywood.
Much like the political conflict and geography of Kashmir provided a backdrop for the personal battles and troubled psyche of the eponymous protagonist in “Haider,” the Wild West treatment of the thriving underbelly of ’90s Bombay adds novelty to “O’ Romeo.” The world-building alternates between pulpy fiction and ruthless reality, capturing the grotesque and graphic manner in which the mafia ruled over the city with an iron fist and ammunitions galore.
References to Real-Life Mumbai Ruthlessness
The movie opens with the merciless massacre of a movie producer and his security in a movie theatre while conversing with a screenwriter. It’s a reference to real-life, documented instances of the D Company taking out hits on music moguls and filmmakers in broad daylight for averting their bids at extortion while the public cowered behind closed doors. It also plays with genres, blending neo-Western tropes with revenge drama, veering into gradual slow burn romance territory and its campy tone. It also uses absurd creative choices and a fair share of ’90s nostalgia bait mirror the fun atmosphere of recent works such as Raj-DK’s zany web series “Guns and Gulaabs” as well.
Despite a quirkiness to it, however, “O’ Romeo” isn’t as a glamorous look at the underworld. It instead becomes a study of the conflicted minds behind the gun scope and also of what makes a killer. A glass fish tank adorns the walls of Ustara’s hideout, a metaphor for the character confined and roaming aimlessly within like a fish. He dreams of escaping to Greece or Fiji with his crew; but turning down a hit job is not easy for somebody with little or no skills to work in another trade. At times, it is the promise of money that holds him back from refusing, and at other times matters of the heart or a change of heart intervene.
Fully-Realized Characters that Feel Real
One also feels a genuine emotional connection towards the characters who are flesh and blood humans weighed down and condemned by their sins. To paraphrase the Bard’s “Henry IV, Part 2″— “Heavy is the hand that wields the razor.” And the same blade that Ustara uses against his opponents/targets can easily cut and scar him too. Like Lady Macbeth’s blood spot, the morbidity of his actions is difficult to erase, and he is desensitized to the violence. He is unable to forget the body count or escape the life he’s gained infamy for, as if stuck in an endless loop.
Similarly, it affords sympathy to Afsha (based on Sapna Didi/Ashraf), the young housewife who hails from a family of classical musicians, and thus feels like fish out of water in the adda (lair) of bloodthirsty, vulgar contract killers. Her quest for revenge too is a double-edged sword. While she is relentless and even prepared to starve to death for her cause and a literal noose hangs above her bed, lest she is unsuccessful, simultaneously she feels remorseful and indirectly responsible for the collateral damage it leads to. Rabia is another such character introduced to viewers much later who evokes empathy. A widow who suffered a still birth due to the crimes of the men in her family, she spends her days painting cryptic murals to cope with her grief, still haunted by painful memories.
Good Performances All Around
The performances further add to the viewing experience. Of late, I’ve noticed the usually bankable Shahid Kapoor sleepwalking through his recent work (he was easily overshadowed in the recent web series “Farzi” by co-stars Vijay Sethupathi and Kay Kay Menon. He also previously suffered due to an underwritten role in the epic “Padmaavat” despite receiving top billing. However, frequent collaborator Bhardwaj awakens the talented actor from his stupor.
In “O’ Romeo,” the stage is his for the taking and marks a return to form once again. Under the capable direction of Bhardwaj—who previously directed the actor in two career best performances in “Kaminey and Haider”—Kapoor strikes a fine balance between cocky and charming as the womanizing, swashbuckling live wire anti-hero Ustara. He would rather spend his days making love rather than cutting throats with his weapon of choice—straight razors concealed within secret compartments in various items of clothing. Whether he is slashing up gangsters and cops alike in half-empty Mumbai locales, slickly sprinting through puddles during street combats on a rainy night or nursing a heartbreak, Kapoor sells both the emotion and intense action. His back and forths with co-star Nana Patekar, who plays Ustara’s stoic handler Ismail. This later is a nod to the veteran actor’s similar roles as a lawmaker amidst lawlessness in “Ab Tak Chhappan” and “Shagird,” also worth a mention due to the duo’s effortless on-screen rapport.
Triptii Dimri and Shahid Kapoor are Likable
The movie offers its leading lady Triptii Dimri a role of substance too. While Afsha arrives at Ustara’s lair a damsel in a dilemma, she exits a fierce femme fatale with bloodlust on her mind. Dimri proves to be a natural in showcasing her character’s duality. She also matches her male counterparts during the action sequences and duels. Farida Jalal—a fixture of my childhood for playing countless maternal figures—steps out of her comfort zone. She’s a surprising addition to the cast as Ustara’s potty-mouthed granny who keeps him and the rest of the gang in check. Tamannaah Bhatia and Vikrant Massey(appearing in extended cameos as Rabia and Afsha’s late husband, respectively) leave impression despite less screen-time. The best is saved for last, however. Versatile Avinash Tiwary sinks his teeth into the role of Jalal. He’s a primary antagonist who is ridiculous, rambunctious, flashy, barbaric, and cruel in equal measure.
The film’s not without negatives, though. Despite the promising first two acts, it loses momentum with item numbers which highlight Kapoor’s impeccable dance skills but act as padding. The final act is visually splendid yet hastily put together—the swift location change to the bullrings of Spain feels abrupt. Personally speaking, the soundtrack proves the most underwhelming facet in this Bhardwaj vehicle. It pales in comparison to the banger albums of yore in his previous works. The ballads are passable; however, despite its catchiness rendering it a viral hit on social media, “Paan Ki Dukaan”—an innuendo-laden fast-paced track with lyrics penned by Bhardwaj regular Gulzar—resembles an inferior copy of the raunchy number “Beedi Jalaile” from “Omkara.” On the contrary, the title track, the use of old Bollywood ditties, and an instrumental background score, enhance certain scenes.
Style Over Substance
Overall, Bhardwaj’s capability as a storyteller and his vision are the key ingredients that elevate an underdeveloped script. Even the most basic plotlines to an altogether absorbing cinematic experience that’s both vibrant and violent. The filmmaker’s style over substance method might not please everyone but “O’ Romeo” is still a must watch for audiences looking for a quick, massy, albeit slightly lengthy adrenaline fix, and it certainly doesn’t disguise itself as anything less.
*”O’ Romeo” is running in theatres currently and is expected to release on streaming via Amazon Prime
