Dhoom:3 (2013)

Dhoom:3 (2013)

Aamir KhanKatrina KaifAbhishek BachchanUday Chopra
Vijay Krishna Acharya


Dhoom:3 (2013) is a Hindi,English movie. Vijay Krishna Acharya has directed this movie. Aamir Khan,Katrina Kaif,Abhishek Bachchan,Uday Chopra are the starring of this movie. It was released in 2013. Dhoom:3 (2013) is considered one of the best Action,Crime,Thriller movie in India and around the world.

The favourite Indian action franchise is back. This time Jai Dixit (Abhishek Bachchan) and Ali (Uday Chopra) return to match their wits with the enigmatic clown thief, Sahir (Aamir Khan), who has the city of Chicago in his thrall. In this battle of revenge and dignity, the lines blur and the conventional definition of good and bad don't apply. Watch a spectacle that will thrill you and move you.


Dhoom:3 (2013) Reviews

  • Rhetoric On Ropes


    Iqbal Khan (Jackie Shroff) is a misunderstood artist of his generation. He is a visionary. He is not interested in rendering a generic circus machinery: that of hackneyed antics, animals (ill-treated behind the stage) and forced glamour. The callous bank executive — metaphorical of Philistine corporations and close-minded audience — is predisposed to reject his plea, with hidebound contention that viewers only expect puerility from circus. The director sets the scene of Iqbal Khan's plights within seconds of his introduction. The young Sahir (played by brilliant Siddharth Nigam) evades bullies in an act of mini-parkour. It's a swift and effective introduction — a tap on his potential, for things to come. The trial circus show of 1990 is filmed very well. There's soft 'malang' tune in the background. The circus props would evolve in the future acts. The hat-throwing trick of the father and the son would later be replicated in the final robbery with motorbikes replacing hats. Although 'Dhoom' films are set in real world, they are quasi-fantasy films. The director makes sure that the implausible stunts are shot aesthetically. This is what separates a good director from an ordinary director. Every scene in 'Dhoom 3' has a function. There is a circus motif in each robbery. Tightrope walking is a common feature in circus and riding bicycle on a tightrope is a possible feat. Accordingly, the motorbike on high-rope is fully thematic in the quasi-fantasy realm of 'Dhoom'. Since motorbikes are essential in 'Dhoom' series, it makes for a thematic correlation between the 'Dhoom' trope and circus. Victor Acharya uses slow-motion and ultra-slow-motion to a great effect in the motorbike scenes, without relying on gaudy tableaux. Then he immediately gets back to the normal speed: it enhances the effect of motorbike's acceleration. The second escape adventure is a riveting spectacle. The taut background music underlines Sahir's predicament when the motorbike reaches the bridge. Sahir underplays well through his countenance of predicament. The scene also harks back to James Bond films where Bond uses gadgets to get out of trouble. Herein, the motorcycle unbelievably transforms into a Jet-Ski. After all, magic is meant to be unbelievable: a mix of sleight, contrivance and deception. Sahir, again, relies on circus acrobatics and magic tricks to escape. The VFX transformation is top-notch. The entire scene is wonderfully executed without any toffee-nosed rush or jumpy chopping. The editor does a fine job in knowing when to chop and when to spare. In both robberies, Sahir uses the disappearing trick (taught by his father) to circumvent the police. None of the songs are forced in the narrative. The 'malang' song is well-timed at a crucial juncture before the interval. The prelude has a sense of grandeur, silhouettes representing the young Sahir and his father. Malang has so much potential that it could have become a meta-movie in the song itself. But it is still impressive, grandly expressionist with colours, shadows, outlandish creatures and magic. Like the previous 'Dhoom' movies, the background music is superlative. Julius Packiam blends it finely in the narrative: at times subtle, at times prominent as per the situation. It lingers on even after the movie ends. One gets to appreciate the background music more during repeat viewings. A big revelation comes at the point of interval. This scene, again, is very well directed. The good thing about Victor Acharya is that he knows when to accelerate and when to slow down. Following the confrontation with Jai, Sahir ensconces towards his room. It's a long take with no dialogue. The length engenders a feeling of suspense. As Sahir sits on the chair, probably facing a mirror (a common mode of cinematography), one can hear his breathing. The camera circles slowly, the silence adds to the anticipation. Abhishek Bachchan shares more screen-time with Aamir Khan than he did with his adversaries in 'Dhoom' and 'Dhoom 2'. He shows a menacing streak in the scene where he interrogates Sahir. Since everything has to be done in the 'Dhoom' framework, the film misses out on opportunities of what they could have done with Jai's character, as well as a few other things, because in many ways, it's Jai Dixit who comes across as a stubborn antagonist. A propos the act in India, the idea was to play it to the gallery with a rustic fight scene. The auto-rickshaw feature, however, is unbefitting to the 'Dhoom' template. Ideally they could have harked back to the brilliant chor bazaar (black market) scene from 'Dhoom 1'; that scene had a riveting escape (with Jai and Ali being the absconders instead of chasers) and a little story behind it. But here, there is no back story, no motif and no 'Dhoom' twinge on the rustic tableau. 'Dhoom 3' also succeeds in bringing old-school rhetoric to the fore. The poem 'bandey hain hum uske' is orated throughout the film in different tones, each at a key moment. Sahir and Iqbal Khan disperse a few memorable dialogues. Aamir Khan takes care of aesthetics and nuances in a remarkable performance. As always he stays true to his character. There is no reliance on past glory, self-reference or braggadocio. His poised countenance and that remarkable stance make the motorcycle scenes more effective. He gives Sahir an aura of mystique when he goes to meet Jai Dixit at the police headquarters. His fine hat, tilted a tad upwards, gives him an air of a sly jester. In a scene where the audience cheered the loudest, Sahir says, 'When sleight, contrivance and deception converge, people think it's magic.' During the dialogue, he scratches his face with the gun with an old-fashioned panache. Whether it's a nod to the old-school acting or personal mannerism, it goes well with the rhetoric. This is the closest he can come to self-reference.

  • one of the best action thrillers ever


    It is often said that Dhoom movies are action movies. If you think about it, like Aamir Khan also said, they are not action. They are more of adventure films with pulsating chases. There is little action or fight scenes in Dhoom. In the spirit of the riveting Dhoom world, the 3rd edition does a fantastic job. You know when Aamir is in the lead, things ought to get better. One has to understand that Dhoom is an escapist world, like the films of James Bond or action films of Salman Khan. It is a film in which you want to whistle. The last time I heard such loud whistles were during Dabangg and Ghajini. Every time Sahir pulled a fast one, crowd cheered loudly. Some people were asking how does Jai find him at the dam. The answer is: it doesn't matter. Either way, Samar would have contacted Alia and Jai would have caught him. Jai knew that he could use Alia to lure him. If he had Samar, Sahir would have automatically walked in. The chemistry between the characters is so amazing that they could have easily made it longer. The time of 172 minutes flies by.

  • An honest appraisal of an honest attempt at filmmaking


    Sometimes in cinema it is difficult to live up to hype. However, Dhoom 3 exceeds all expectations by packing a solid punch. The start was excellent and emotional, propped up by great performances from Jackie Shroff and Sidharth Nigam, the kid who plays young Aamir. YRF were indeed fortunate to find a kid who is not only a gymnast but a talented actor. I thought the cruel bank guy was good in his small part. He should've got a longer part. After the hasty Iqbal (Jackie) commits suicide, his son decides to take revenge. He targets the bank using his circus tricks and incredible gymnastics. As good as Aamir acts, he gets a very good script here that gets the best out of him. The "dhoom" scenes i.e. the chases are awesome. Modern cameras and VFX effects make them even better. Aamir's acting gets better and better as the story progresses. This is one one hell of a job by Aamir, on par with his best works. *****SPOILERS AHEAD***** To be frank, ACP Jai Dixit has become a liability since Dhoom 2 because his character makes things redundant. Since Dhoom 2 had a happy ending, his pesky interruptions didn't matter. But in Dhoom 3 the ending is sad, just because they had to give leverage to his character. Alas! they miss out on many tricks. Sahir's mastery and the twists around his characters are so good that he could have easily toppled Jai. Alas! Jai's character needs face saving because he's supposed to be one of the principal characters. He comes across as a big time nuisance. The whole angle about Jai called by US police to help them is hard to fathom. But we understand it's "dhoom" and some level of cinematic liberty has to be taken to involve a story like this in Chicago because it's hard to visualize this story on the streets of India.

  • Two thumbs up


    {Bandey hain hum uske humpe kiska zor} Jackie Shroff recites the motivational poem elegantly. He is a damn good actor without any doubt. He is like a chameleon who adapts himself well into whatever part he is given. I don't think the film industry has done justice to his potential. The super-talented Sidharth Nigam and Jackie form a great father-son duo for a short period. Would it have been better to start the film with the robbery and then show the 1990 Chicago later on in a flashback? Hard to say. It doesn't make much of a difference to the final show. Dhoom 3 is basically a mix of bikes and circus themes with loads of thrills and the usual entertainment. It is a true escapist entertainer. Motorbikes make a full-on comeback to the Dhoom world. Watching Aamir on the bike is a high. Watching two Aaamirs is even better. His dedication is astounding. He took a year to get in shape for a circus guy's role. One can see how important it is to look that part. His acting is predictably top class. There is no plagiarism here or in Ghajini as many people still complain. People need to watch it with an open mind. {Watch Barfi, Zeher, Taxi No. 9211 to see what plagiarism means}. Vijay K. Acharya is a dreamer. He is a man who follows his passion. His command over his material is praiseworthy. Truly underrated director. The cinematography is praiseworthy. The slow-mo scenes are well done. {I am usually not a fan of slow-mo fights but Acharya has done them in a uber-cool way}. Abhishek does well and Uday doesn't get much room. The action is extraordinary. It is meant to be that way and must be received in that spirit.

  • Worth Watching


    I Just Completed Watching Dhoom:3 and I Must Say That They Try and Made Something Awesome To Us; Let Me Tell You 1st, It's Not a Typical Thief and Police Kinda Dhoom, It Was All About Revenge of His Father's Death. In a 170+Minutes I Didn't Got Bored(A Biggest Plus Point), A Very Interesting Twist Before Interval Just Tighten Us ie.Double Role of Amir Khan- I Have No Words The Way It Has Presented To Us(Sahir&Samar), Amir Carried Both Roles in Tremendous Manner,What We Expected From Him. What I Can Say About Katrina?? She is Being Used By As Usual As Material, This Time A Dancing & Acrobat Material. Well She Did Well Those Sequences, Abhishek Bachhan is Far Brilliant than His Previous Image As An Actor, Hats-off to Cinematographer, He Did Fabulous Job Well Chase Sequences Are Mind Blowing as far as Hindi Cinema's Concern Overall I'm Sure U Won't Get Bored for more than 5-10 minutes in a 170+Minutes Lengthy Movie


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