Review of the film: The second 'Super 30' is guessing

Tell Indian administrators not to trust their documents. You can give them Casablanca and they will go there, that's good, but there's a fight scene missing and why are people crying in the big musical number? Super 30 is on the right track, provided you stay true to the true story of a Bihar teacher who drives underprivileged children to the IIT-JEE exam. But when the movie begins to doubt that it's enough, it breaks up.

We meet for the first time Anand Kumar (Hrithik Roshan) as a prodigious academic talent in Patna. He is less skillful on the human level and looks for the number of gold in the face of his girlfriend and finds her eager, a scene reminiscent of John Nash's abrupt book in A Beautiful Mind ( another tower borrowed from Ron Howard's film scribbles on a blackboard crystallizing and suspended in the air to give an answer). When he is accepted to Cambridge, his father postman desperately tries to collect the money to send him there. But this causes a fatal heart attack and Anand is forced to sell his father, his acceptance letter from Cambridge becoming a packing sheet in a mawkish scene.

When he recognizes Anand, the director of the training institute, Aditya Shrivastava, falls on Anand. the award-winning student that he had once met and hired to teach students preparing for the IIT-JEE exam. Soon, Anand is a star teacher who earns more than he can spend. Will he go away from the light? It turns out that nothing prevents a poor student from solving math problems between two shifts and a revealing rickshaw ride can not be repaired. It's a bit strange to have the moral climate of a Raj Kapoor movie of the 1950s in 2019, with rickshaw operators giving life lessons and a corrupt Lallan doing everything except revealing a forked tail of his first scene.

Anand opens his own coach This center aims to help students whose family can not afford the studies or supervision to prepare IIT-JEE. He accepts 30 students, lodges, feeds and teaches them. This is where the film begins to reach, to praise its material. There is a competition with the Lallan Training Center with an artificial twist at the end. In the clbadroom, a sequence of songs needs the direction of Anurag Basu (the soundtrack and the score of Ajay-Atul are melodious but much too strong and used indiscriminately). There are back-to-back scenes with an almost comical intensity – the first with the wind waving the sheet metal walls of the clbadroom while Lallan attempts to intimidate the students, the second with Anand rising to the the middle of the night to shout after his. accuses them of having nothing and therefore nothing to lose.

Things really begin to deteriorate after the intermission. There is a long sequence in which students apply their science skills to thwart an armed attack; it will bring home Alone memories, even if you wonder why screenwriter Sanjeev Dutta and director Vikas Bahl hide their story of crackers with the Juvenilia children's film. Almost as far-fetched – and indicative of the film's simplistic vision – Anand's plan is to get his students to overcome their nervousness about speaking English. They are told to do their own skit in public without having to say a word in Hindi – anyone who refuses will not be allowed to return. It ends up working, with the clbad coming together and winning an initially mocking crowd. There is something terribly wrong at this moment: a celebration of Anand's heterodoxy at the expense of the dignity of children.

Last year, Hichki the teacher Rani Mukherjee is in charge of the management of a clbad of children Low income families. The film was as subtle as Super 30 but it strove to give students distinct personalities, quirks and talents. In Bahl's film, the candidates for the IIT were saved only by Anand, not to show their own spark. We have been given the names of some, their tragic circumstances and their aspirations, but little effort has been made to make them memorable.

Super 30 is therefore less the case of the 30, but rather of it. This one has a strong Bihari accent, of which I will not speak of authenticity, except to say that it looks like an actor trying to make Bihari one and the other of his beings. The second hurdle, if you're trying to appreciate Roshan's performance, is his darker complexion than usual – a Bollywood shortcut for "low-income family person"; unforgivable but shamefully common. There are half a dozen actors that would be better suited to Roshan, but at least in the beginning, Roshan is not as emotional as possible, and there is a reservation to his Anand who removes some of the sentimentality.

This is Bahl's fourth film. As a director, a former employee (he was laundered by a committee of internal claims) denounced his first release after allegations of badual badault. If Super 30 had told his story, he might have had something telling to say about coaching. Kumar's clbad culture, eccentric methods and psychology of these students. Instead, Bahl catches the territory of Akshay Kumar, all good intentions and no subtext. Queen's ideas seem far away now.