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Dayanand isn’t keen on having her under his own roof either, but doesn’t stand in the way of a Good Samaritan. He lives there with Dayanand (Saxena), a family friend whose daughter Rasika (Kapoor) is betrothed to him, conditional to him sorting himself out in the next few months. No one is willing to take custody of a lost little girl, however, and he must take her with him to Delhi. Pawan, on the other hand, isn’t particularly drawn to her, and keeps trying to palm her off. She gets on a goods train going the other way, and soon finds herself in Kurukshetra, where she is drawn to Pawan, presumably because he’s got great moves whenever his love for Hanuman moves him to dance. On her way back, she strays off the train just before it re-enters Pakistan, distracted by a baby goat, and can’t shout out when she sees the train leaving without her. Hailing from a village in Pakistan-occupied Kashmir, she comes to India with her mother in order to make an offering at the Nizamuddin Dargah in order to regain her voice, the local shrines presumably being ill-equipped to perform such a miracle. Munni’s journey to the brothel, however, isn’t a great advertisement for our hero, or, for that matter, his country. Our hero was a simple ne’er-do-well with a heart of gold, something that was driven home not through demonstrative scenes but by endless repetition, by either him or the people around him going on and on about what a nice guy he is, as if they were still giving soundbites to journalists.
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They laughed as the travel agent who was making the sale panicked in the face of his inevitable butt-whooping, returning the money, only to be launched out of the window. They cheered as one by one, the toughs responsible for the brothel’s security charged him and were disposed of with Salmanian ease.
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They whistled as he charged into the room after having searching high and low for Munni (Malhotra), a six-year-old mute girl he’s supposed to be taking care of, and finding her in the midst of being traded, assumed battle stations. The cheering, when it did come, was for a reversion to the mean, for Salman remembering who he is and laying the smack down on a prostitution ring. There were no baddies being dispensed with, no pithy lines of dialogue, no moment of pure badassery-our hero was a simple ne’er-do-well with a heart of gold, something that was driven home not through demonstrative scenes but by endless repetition, by either him or the people around him going on and on about what a nice guy he is, as if they were still giving soundbites to journalists. Forget invincible, it turned out that despite being a massive Hanuman bhakt and a regular at his local akhara, Salman Khan’s Pawan Kumar Chaturvedi, urf Bajrangi, was too ticklish to wrestle. No, the reason this first-day-first-show crowd for Kabir Khan’s Bajrangi Bhaijaan hadn’t whipped itself into a frenzy of adulation, seeming almost subdued, was because the superhero they had come to watch didn’t seem to be as invincible as usual. And it certainly wasn’t because they were too engrossed by the story the film’s plot was about as rudimentary as it gets, requiring little from its audience by way of concentration, and even lesser interpretation. It didn’t seem, either, that Bhai’s conviction had turned the audience against him. It wasn’t because the multiplex crowd was too genteel to hoot Bhai is Bhai, no matter what you paid for that ticket. The first cheers-not counting the obligatory applause and whistling at Bhai’s first appearance on screen, of course-only came near the end of the first half.
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Starring: Salman Khan, Kareena Kapoor, Nawazuddin Siddiqui, Harshaali Malhotra, Sharat Saxena The deification of Salman is the only discernible objective for Kabir Khan's ‘Bajrangi Bhaijaan’.