In this era of blending North and South Indian cinema, Varun Dhawan takes a detour to Kerala’s backwaters to reinvent himself as an action hero. The title Baby John plays on both the actor’s public image and the character’s journey. The plot revolves around a man who was once a fierce tiger, now biding his time before he makes his comeback—essentially a scene-by-scene imitation of Atlee’s Theri, which was fueled by the star power of Vijay.
Produced by Atlee and directed by Kalees, Theri is a script designed to capitalize on the established fame of a superstar. But for an actor aiming to reinvent himself, it doesn’t quite hit the mark. For a long time, Varun has been attempting to carve a space between comedic roles like those of Govinda and action-packed performances similar to Salman Khan’s. With Baby John, Varun makes an effort to shed his past as Bollywood’s “baby” and claim a stronger, more mature identity.
However, when a Punjabi actor is inserted into the high-octane, larger-than-life world of South Indian masala cinema, the result feels a bit off—like adding paneer to a masala dosa or rice flour to chapati. Atlee successfully navigated these cultural clashes in Jawan, offering a fresh narrative while keeping his signature mass appeal. Unfortunately, Baby John fails to move beyond its origins, remaining tied to its roots in a way that doesn’t quite resonate with today’s audience. Unlike the 1980s, when Jeetendra could get away with rehashing stories because few had seen the originals, Baby John doesn’t benefit from the same sense of novelty.
A major issue with remaking a film from 2016 is that by 2024, the plot twists—which were already predictable—feel even less exciting. The film’s surprises are easily anticipated, and the non-linear narrative and flashbacks come off as gimmicky rather than compelling.
What’s more, the film’s portrayal of outdated social ideals feels problematic. For example, the “male savior” trope, in which the hero rescues those in need, feels tired and unappealing. Despite strong performances from actors like Keerthy Suresh and Wamiqa Gabbi, the female characters exist only to support the hero’s journey. Rajpal Yadav, cast as the sidekick Ram Sevak, is given more depth than the two women combined.
Where Baby John does manage to engage is in its celebration of a vigilante hero in uniform, equipped with extrajudicial powers to deliver justice to the oppressed. It’s in this element that the film finds its footing. The story begins with Satya Varma (Varun Dhawan), a kind-hearted police officer who believes in reform rather than violent encounters. After a slow build-up, during which Varun shares some delightful moments with the young Zara Zyanna, the film finally gains purpose around the intermission. This is when Satya faces a critical moment, pushed to take a more disruptive stance by the villainous Babbar Sher (Jackie Shroff).
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