Bha.Bha.Ba: Madness Without Meaning
Right from the outset, Bha.Bha.Ba (Bhayam Bhakthi Bahumanam) makes it abundantly clear that logic is not part of its design, choosing instead to revel in unrestrained madness. The plot-arguably the weakest pillar of the film-resembles an untamed horse let loose for any bizarre detour. Debutant director Dhananjay Shankar appears more invested in glorifying the on-screen personas of Dileep and Mohanlal, catering overtly to fan service rather than shaping a coherent cinematic experience. Chaos and commotion act as the primary driving forces, sidelining the potential of a strong story despite the presence of several capable actors.
Written by Fahim Safar and Noorin Shereef, the screenplay is riddled with inconsistencies, though the makers preemptively justify this with a title card that openly declares a "lack of logic." Dileep plays a protagonist with a mysterious past who kidnaps the Kerala Chief Minister, CK Joseph (Baiju Santhosh), during a public event. The character is portrayed as psychologically unstable, and the narrative is framed through a voice-over by Basil Joseph, interspersed with conversations between two groups of children in a playground.
Following the abduction, the film claims that events unfold in an "alternate universe" (figuratively speaking), using this as a license to indulge in deliberate absurdity and spoof-like situations. Vineeth Sreenivasan's NIA officer Noble-also the Chief Minister's son-is another oddly written character, as the investigation blatantly disregards standard procedures for a case of such magnitude. His desperation escalates when a blind artist (Balu Varghese), a historian (Ashokan), and a witness (Fahim Safar) step forward claiming knowledge of the abductor's whereabouts. Meanwhile, Noble is forced to depend on information from social media influencer Godson, played by Dhyan Sreenivasan.
The film is peppered with nostalgic references to retro Dileep and Mohanlal films, clearly designed to whip up excitement among fans. While these moments do generate fleeting frenzy, they do little to strengthen the narrative. Certain dialogues delivered by Dileep seem intentionally meta, echoing incidents from his real life, while Mohanlal's punch dialogues largely fall flat despite his energetic screen presence. Dileep appears to overexert himself, resulting in a performance that lacks organic growth and fails to showcase his usual flair, even alongside Mohanlal. Their shared dance sequence, however, offers a brief moment of visual appeal.
Mohanlal's cameo as gangster Ghilli Bala stands out as the film's most refreshing segment. Yet, in the director's excessive glorification, the actor's craft is overshadowed by hyper-stylised presentation. Mohanlal's physicality and body language, exaggerated to the point of caricature, border on the risible in several scenes. The film's so-called madness peaks in its noisy, predictable climax, which also introduces a Tamil actor-clearly setting the stage for a sequel.
The intended twists-particularly the hero's confrontation with armed police and a sudden shift in a police officer's loyalty-register as underwhelming. Heavy background music, slow-motion shots, and relentless gunfire dilute whatever impact these scenes might have had. Devan's Superintendent Dev is tasked with delivering dialogues that have already become viral troll material online. Vineeth's and Dhyan's characters also lean heavily into social media memes, referencing Vineeth's frequent "Chennai" mentions in his films and Dhyan's infamous interview trolls. A recurring exchange-"You don't know youngsters of today" countered with "I have seen many youngsters come and go"-further underscores the film's self-aware but shallow humour.
Cinematographer Armo's visuals are occasionally pleasing, but Gopi Sunder's background score and Shaan Rahman's songs remain largely unremarkable. Ultimately, despite boasting an ensemble of talented actors, Bha.Bha.Ba fails to leave a lasting impression due to its tedious narrative and erratic filmmaking. The makers' unapologetic admission of illogic does little to excuse a silly plot and contrived situations crafted solely to exalt star power and fan adulation-making the film a passable but forgettable exercise in cinematic chaos.
