Chennai Express is one of the fastest grossing Bollywood films of all time. It’s already a member of the 300 Crore Club ($48m) worldwide, one of only four films to do so, and broke box office records in the weekend of its release in India. While the public have flocked to the film the critics, both in India and abroad (the film was released worldwide almost simultaneously) have not been so impressed.
So to the movie: Rahul (Shah Rukh Khan (SRK)) is the scion of a well-to-do sweet seller’s family in Mumbai, raised by his grandparents after his parents’ deaths. After an indulgent and spoilt childhood Rahul (SRK) is seemingly prevented from meeting women because he’s so committed to his grandparents and the business. At the time of his grandfather’s death Rahul is planning a “boys’ “ weekend in Goa but plans are complicated by having to dispose of the ashes near Chennai. Getting on the Chennai Express Rahul helps a running woman, Meenamma (played by Deepika Padukone) onto the train, but finds she is pursued by a number of non-Hindi speaking brutish men. Then Rahul finds they are her father’s henchmen who have found her after she ran away. Some comedic moments follow with lyrics from songs from SRK’s films changed to confuse the Tamil speakers. But escape attempts are futile and they arrive at her father’s “territory” and Rahul finds he is a local underworld chief who has promised his daughter to a friend’s gigantic son, Thangaballi. Rahul and Meenamma escape spending time at another local village, are found and escape, but Rahul returns to the mafia village to fight the brutish Thangaballi. Rahul says he fights for the “common man”. Love conquers all and her father accepts Rahul as her husband.
The first half was fairly pacey establishing Rahul as restricted by family issues, a familiar theme in Bollywood. But that was just to set the scene. The “boys” again were just thrown in for effect. The Hindi songs bastardised on the train were an in-joke taken from SRK’s previous films – along with a number of other references to other Bollywood films (Dilwale Dulhania le Jayenge; My Name is Khan; Zindagi Na Milegi Dobara; Khabi Khushi Khabie Gham). But beyond that there was very little characterisation, particularly of Meenamma. There were hints of racism - Indians are racist too - in the portrayal of the darker South Indians as large unintelligent brutes. There were a couple of dance numbers in the first half but they were simplistic dances and songs, often childish and facile.
The second half was actually a bit better, but that’s not saying much. A couple of the dance numbers, particularly set on the South’s tea estates, were actually quite entertaining. A car chase followed but for someone raised on Bond and Bourne the chase was fairly tame. But then a quite brutal fight scene between Rahul and Thangaballi.
None of the characterisation was strong. Rahul’s invocation of the “common man” was quite unexpected, and the love between Rahul and Meenamma was just not believable, certainly not compared to some of the couples in SRK’s previous films.
The hints of racism were added to by confusion between Hindi and Tamil, and just made one very uncomfortable. In addition, a scene when Rahul is on the run and comes across a man with dwarfism and a speech impediment is meant as a comic interlude partially but is gratuitously exploiting a dwarf and added nothing to the plot. But the Hindi speaking families behind us found it quite amusing.
The film also featured pure unreconstructed sexism of the type ingrained in Indian culture, but also of the type you hoped an international Bollywood film might manage to transform a little. Instead, we had a fairly assertive Meenamma on the run from an arranged (perhaps forced) marriage to Thangaballi, being captured and brought back to her domineering father by his henchmen. She seems to have no choice but to go through with the marriage to her father’s chosen partner before Rahul comes to her rescue. Rahul eventually ‘wins’ and is granted his chosen bride by Meenamma’s father – but only after the classic punch-up between the two would-be grooms over who gets the ‘girl’. Despite her feistiness, and constant attempts to escape, Meenamma returns to the passive bystander while the men fight over who gets to marry her. Hardly a promising role model for a 21st century woman – one in control of her own destiny - in whatever country – or indeed for her father or potential husband.
Brought up on the best of modern Bollywood and starring SRK we were expecting a lot better both in terms of the plot, songs and dances. The racism, sexism and casual treatment of the dwarf detracted considerably from the film. We didn’t find the comedy scenes funny at all – perhaps something was lost in translation. If the film was meant as a parody of your classic Bollywood romance or Tamil action movie, then it wasn't a very good one and the in-jokes and references may well have been lost on an international audience. We do wonder if Bollywood tries too hard to combine what would normally be separate genres in its films from rom-com, to thriller to social commentary, and this was just a step too far.
Sue and I both evinced some concern for SRK’s continuing career. As we have noted before despite the fact he is good shape he can’t continue to play action roles, dance, and play the romantic partner of an actress in her 20s. Bollywood doesn’t appear to have the range of genres and movies that would be available to a leading actor of SRK’s age in Hollywood. But with SRK’s star power he can surely mould the industry to suit himself. Perhaps his wife’s involvement as a producer of Chennai Express skewed his judgement. Almost incidentally SRK and Padukone appeared on breakfast television in the UK, Daybreak, to help publicise the film. But the appearance was cringeworthy; the presenter had no idea that she was in the presence of a movie superstar, nor about the Indian film industry.
Overall 1 out of 5 and that’s mainly for the rather expensive popcorn we devoured.