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One of the most breathtaking scenes of the edition involving riot, chaos and mud-fight in the heart of Mumbai slums, loses its impact in a diluted reproduction of the same scenario. The mother-son relationship that was a focal point in much of Agneepath doesn’t get too much screen time here. Agneepath music is quite promising. Agneepath is inspired by Mukul Anand’s gritty take on retribution but its sensibilities are closer to full-on potboilers like Ram Lakhan , Sadak and Karan Arjun. He has done some awe-inspiring work in the last couple of years Luck By Chance , Chintuji , Do Dooni Chaar but nothing tears down his sweater-clad lover boy reflection like Agneepath. But it is Rishi Kapoor’s wily turn as Rauf Lala, representing the collective villainy of Terelin, Usman and Shetty, that is the greatest revelation of this piece.

Here too, Priyanka Chopra pops in and out to fill the void created by Krishnan Iyer, MA’s absence in Madhuri Dixit’s hand-me-downs from Prem Pratigya , a flaky sense of humor and a reliable stockpile of standard Bollywood heroine expressions — giggle, pout, sulk, sing and sob. Reader Priyank Varshney sends us pix from The return to Mandwa is nostalgic. The name, the man, the voice, the aura bears a lot of weight, the kind that’s impossible to measure. I much preferred the simplicity and uninhibited delivery of the kids playing a young Vijay, Shiksha and Kaali over these veterans. Agneepath never had any room for merriment. And he does just that, pays a tribute instead of making the colossal mistake of embodying the established and esteemed.

He has done some awe-inspiring work in the last couple of years Luck By ChanceChintujiDo Dooni Chaar but nothing tears down his sweater-clad lover boy reflection like Agneepath. The romance track between Mithun and Neelam was most grating. Zarina Wahab’s Suhasini, thankfully, doesn’t shove her morality-driven ideals down our lick and while Vijay seeks her warmth, his vengeance doesn’t quite seek any approval. Or live up to.

This story ploy, of Vijay’s slyly shifting motives, sajjay in some fine, unpredictable moments in the film. Mvoie Priyank Varshney sends us pix from Like its original, Agneepath is loud and lengthy revenge sage. But, BUT, he has the physicality of a mega star and astuteness of an actor who knows how to use his anxiety, ire and vulnerability to its fullest potential.

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Hrithik Roshan doesn’t have the magnetism or gravity of Bachchan.

And he does just that, pays a tribute instead of making the colossal mistake of embodying the established and esteemed.

For all his Robin-Hoodness, the revised Vijay is much more calculating, coldblooded, bumping off every obstacle in his way adhering to the Idhar har taaqatwar apne se kam ko maar mkvie jeeta hai aphorism of Mukul S Anand’s protagonist and sans any reservation towards drug peddling.

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To me, that’s exactly how Agneepath works, less of a remake, more of a tribute. One of the most breathtaking scenes of the edition involving riot, chaos and mud-fight in the heart of Mumbai slums, loses its luk in entfy diluted reproduction of the same scenario. While on glamorous aspects, let’s not entrg Ajay-Atul’s reworking of Kombdi palali aka Chikni Chameli. Here too, Priyanka Chopra pops in and out to fill the void created by Krishnan Iyer, MA’s absence in Madhuri Dixit’s hand-me-downs from Prem Pratigyaa flaky sense of humor and a reliable stockpile of standard Bollywood heroine expressions — giggle, pout, sulk, sing and sob.

Moreover what can possibly work in place of Bachchan and his trademarks in an old hat plot riding on themes like Baap ka badla and Maa-bahen ki izzat?

For the Vijay Dinanath Chauhan, you and I know, would never have danced. Agneepathless of a remake, more of a tribute.

If it takes four decades for an actor to surprise us like this, so be it. Often you do miss the bite of Kader Khan’s quotable quotes, the movid of his inimitable, grand metaphors in the conversation.

Not everyone has such resonance among the audience. The name, the man, the voice, the aura bears a lot of weight, the kind that’s impossible to measure. I much preferred the simplicity and uninhibited delivery of the kids playing a young Vijay, Shiksha and Kaali over these veterans.

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Both integral moments — the legendary, Vijay Dinanath Chavan, poora naam introduction as well as the recital of Dr Harivanshrai Bachchan’s poem inspiring the film’s title are venerated with panache and dignity. How does a brown-eyed boy grow up to have a glistening pair of greenish-yellow ones as a grown up? Dutt’s version is akin to a dark creature, a philosophy-spewing psychopath with a severe complex about his daunting looks a startling cross between Smeagol and Voldemort and rigntone innate proclivity for disturbing punishment.

But it is Rishi Lhck wily turn as Rauf Lala, representing the collective villainy of Terelin, Usman and Shetty, that is the greatest revelation of this piece.

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That said, Malhotra ringtoe shy from recreating the original’s most iconic dialogues in such exciting fashion, it’s most befitting. They should have just called it Dharmapath.

Only wish Malhotra had been more careful with his detailing. Agneepath is inspired by Mukul Anand’s gritty take on retribution but its sensibilities are closer to full-on potboilers like Ram LakhanSadak and Karan Arjun.

Danny Denzongpa’s Kancha Cheena was a picture of suave menace operating as a drug king pin with a businessman’s objectivity.

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Sure, it’s on the catchy side but the sight of Katrina Kaif batting with her butt is too much aggression for one day. Agneepath music is quite ringtonee. The return to Mandwa is nostalgic. The answer is two massive, hysterical villains.

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