Brimming with smart ideas and powered by the performances of its two principals, it’s a shame this promising film comes undone by the Curse of the Second Half. Watch it though for bravely treading new ground.

‘Shamitabh’ had the potential to use irony and knowingness and a self-awareness, and the presence of the most durable star in Bollywood whose velvet-and-iron rumble has become part of the national soundtrack, to give us an unforgettable story of ego and identity, rejection and acceptance, success and failure. There are a few moments which sparkle, and we laugh in acknowledgement. But the rest of it is overpowered by unabashed reverence.

That, in essence, is the problem with Shamitabh: it spends all its time explaining its own jokes.

And that never sounds right, no matter the voice.

Daanish and Amitabh are well-enacted, strong characters. Shamitabh is a lovingly crafted film that doesn’t quite pan out. Which is a shame, because there is much to savour here.

Shamitabh is recommended only for its storyline, the quality of the performances and its technical brilliance.

While Bachchan is indeed the selling point of the film, Shamitabh might have benefitted had Balki gone a little easier on his obsession with the ageless superstar.

…even as Balki guides his third film to his trademark mawkish route, the effect is nowhere the same as Paa for the heart is missing.

SHAMITABH has an out-of-the-box and unusual plot that will appeal only to a niche audience. Go for it only if you are a hardcore Bachchan fan.

With films like the eminently likable Cheeni Kum and Paa, R Balki established himself as a director who had something different to say and tell. He continues in the same vein with Shamitabh but this time there are some hiccups with the screenplay, it is just not meaty enough for a two and half hour film. He does get marks though for trying and credit to the leading men for saving the day.

The film works at some levels. The absolutely cool story idea and Balki’s tongue firmly in cheek look at the buzzing world of Bollywood are the plus points of the film. The scene leading to the ‘Piddley’ song sequence as well as the song itself are the best indications of a well executed satire.

Shamitabh is too melodramatic and outlandish for its own good. It boasts of some great acting and a refreshing concept, but is let down by Balki’s crummy writing and ham-handed direction.

If you are one of those who relish and cherish watching Bollywood’s dumb and dumber projects that are belted out every Friday, please give Shamitabh a miss because you will not be able to handle its magnanimity, forget about respecting the plot.