Babli (Ranbir Kapoor) is a car thief with the reputation of being one of the swiftest in the business. This seems a rather tall claim since the first time we see him steal a car, everyone from the residents of a nearby building, the compound’s security guards and the Delhi police start chasing him. Not just that, in an attempt to dodge the police, Babli scratches the car, drives through a hoarding, and lands on the car’s bonnet.
Babli’s reputation brings him to the notice of Bheem Singh (Jaaved Jaaferi), the villainous hawala king of Chandigarh. For some reason, this gentleman only wears colonial jackets and jodhpurs as though he is a rejected extra from a David Lean film. He also speaks in a very deep and gravelly voice, just in case you didn’t pick up on him being a bad guy. Bheem Singh hires Babli to steal cars for him. These cars are used to carry hawala money out of Chandigarh, which Bheem Singh does personally. In case they’re stopped by the police, as they are in Besharam‘s opening sequence, Bheem Singh has a ferocious doberman sitting in the car’s boot and a man with a missile launcher in the front seat. And you thought America needs to do something about gun ownership among civilians.
Babli’s car-thieving ways leads him to cross paths cross with Delhi police’s Chulbul and Bulbul Chautala (Rishi Kapoor and Neetu Singh, respectively), a squabbling couple who work together and are on the verge of retirement. The two older actors are the only reason that Besharam is occasionally bearable, even though they haven’t been given particularly well-written roles. Singh has fun as the bossy, pistol-wielding, sari-clad policewoman and you have to giggle at Rishi Kapoor doing ‘Badtameez Dil‘ in one scene and unleashing his inner Sunny Deol in the final sequence.
When Babli unknowingly steals his lady love Tara’s (Pallavi Sharda) car for Bheem Singh, he decides that the best way to get into Tara’s good books is by stealing the car back. Except stealing from Bheem Singh isn’t a piece of cake, especially when there’s hawala money in the car’s trunk and the villain can hold all the kids of an orphanage hostage. No prizes for guessing who ends up on the wrong end of a flying kick.
Like most masalathons, the premise of BESHARAM is simplistic, but the real test lies in padding the screenplay with gags, punches and moments that would keep you completely enamoured in those 2.20 hours. While BESHARAM does have moments that can be termed pleasurable, the consistency is clearly missing. These moments are sporadic, coming up intermittently, but what takes you by complete surprise is the crude humor that’s integrated in the narrative.
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