Eid, the festive season that Pakistani filmmakers eagerly pin their hopes on, witnessed an extraordinary surge this year with a whopping five local films hitting the screens. Amongst these releases was Babylicious, a cinematic venture penned and helmed by debutant Essa Khan. However, the true allure of this film has been building since its promotional campaign, unveiling a much-anticipated on-screen reunion of the once-real-life-couple Shehroz Sabzwari and Syra Yousuf as the film's dynamic leads.
Essa Khan's directorial debut mainly caters to the younger generation, exuding a vibrant and energetic vibe that resonates with its target audience. With its theme, execution, and overall presentation steeped in youthful exuberance, Babylicious aims (hopefully) to capture the hearts and minds of the youth. Now, it is time to explore the complete cinematic offering that this film brings forth, delving into the myriad elements that await its eager audience.
Bablylicious delves into the chaotic world of Omer (Shehroz Sabzwari), an immature and directionless youngster relentlessly pursuing the love of his life, Sabiha (Syra Yousuf), with unwavering determination, heedless of the moral boundaries he crosses in the process. Omer, fittingly labeled a 'Mummy Daddy Bacha,' thrives on his parents' support, devoid of any ambition or academic prowess.
His obsession with Sabiha, whom he affectionately calls his Babylicious, is undeniable, even though she unceremoniously ends their 15-month-long relationship, opting to marry the well-established and charismatic businessman, Nabeel (Ankur Rathee). Despite repeated rejections, Omer remains fixated on reclaiming Sabiha's heart, refusing to accept defeat.
Since, Omer couldn’t take a ‘no’ for an answer and as a result he starts to plot schemes around how to get Sabiha back in his life with the help of his friends Aadi (Adeel Ahmed), Nido (Mohi Abro) and Arwa (Shehzeen Rahat). This includes visiting a prostitute to forget Sabiha, requesting Arwa to become his girlfriend so Sabiha could be made feel jealous, going for ‘Kaala Jadu’ (Black magic) and tarnishing Sabiha’s character in front of Nabeel etc. What happens next is what the film is all about.
In the movie, Shehroz Sabzwari returns for his second cinematic appearance, following his debut in "Chain Aye Na." As an actor, Shehroz's portrayal lacks the kind of remarkable transformation one might hope for. While he manages to shine and convince in certain moments, the overall performance falls short, leading to a disappointing experience for the audience.
The character of Omer is crafted as a somewhat enigmatic lover, plagued by an emotional imbalance. His portrayal comes across as volatile, immature, and foolish. The lines he delivers lack the necessary spark and believability, making it difficult for the audience to fully invest in his character. It's disheartening to witness Omer, hailing from a specific background, utter lines that don't align with his supposed upbringing and culture. With more well-crafted dialogues, his performance could have been more engaging and relatable to viewers.
Curiously, Omer comes off as an extension of Shehroz's previous character, Rayyan (from "Chain Aye Na"), albeit in a more sophisticated and privileged setting. However, both characters share traits that are far from commendable – cynicism, a touch of psychosis, and a disregard for women's consent. This shared characterization becomes a major letdown, especially for a romantic story that hinges on such negative aspects.
Babylicious struggles to captivate its audience, owing to Shehroz Sabzwari's relatively unchanged performance and the unfortunate portrayal of Omer as a lover with unsettling traits. The film fails to fully exploit its potential, leaving viewers yearning for more depth and authenticity in the characters and their dialogue.
Syra Yousuf, after Chalay Thay Saath and Project Ghazi, once again ventures into a project that regrettably fails to harness the full potential of her immense talent. Despite being a significant part of the film, she finds herself relegated to a supporting role, lacking the ample screen presence she deserves. In Babylicious, Syra's character is portrayed as a beautiful girl with minimal emotional depth, leading to execution that feels rather off. While she delivers a decent performance, the weak character development and lack of defining traits prevent her from truly salvaging the movie. One can't help but notice that beneath her gorgeous, elegant, and charming appearance, there lies untapped potential waiting to be fully explored, if only she had been directed in the right manner.
It's disappointing to witness such a talented actress being underutilized in a project that seemingly fails to capitalize on her abilities. One can't help but wonder what could have been achieved with a more robust character arc and a director who could bring out the best in her. Perhaps, in the future, we will see Syra Yousuf shine in a role that truly allows her to showcase the range and depth of her acting prowess.
Ankur Rathee, the Indian actor known for his roles in "Four More Shots," "Shehzada," and "Taish," plays an integral character in the movie. However, much like Syra Yousuf's character, Ankur's portrayal suffers from immature writing. The writer seems to have missed an opportunity to infuse Nabeel with the captivating essence of characters like Aman (Salman Khan) or Prem (Abhishek Bachchan) from "Kuch Kuch Hota Hai" and "Main Prem Ki Diwani Hoon."
Ankur Rathee has proven himself as a natural actor through his body of work in recent years, but sadly, that raw talent is lacking in this movie. Although he manages to perform well in his limited role, one can't help but imagine how impactful he could have been with a few stronger scenes that would have elevated the craft of the entire film and etched his character into the audience's memory.
Ankur possesses the personality and presence to overshadow Shehroz, as the story demanded, akin to Sidharth Shukla's portrayal in "Humpty Sharma Ki Dulhania" alongside Varun Dhawan. However, it appears that the potential of this intriguing character was not fully explored, resulting in a good extended cameo ultimately going to waste.
Aadi Adeel Ahmed delivers his usual performance in Babylicious, without bringing anything new to the table. While he manages to entertain the audience and fulfill his role successfully, it is the few standout scenes featuring him that become the major highlights of the film.
Mani's character is loud, as he hams it up in every scene, desperately seeking attention from the audience, albeit for all the wrong reasons. Anita Camphor's performance is excessively loud and irritating, failing to strike a chord with viewers. Aamir Qureshi displays a mix of good and unbearable moments, showcasing inconsistency in his acting.
As a whole, Babylicious leaves behind a trail of unanswered questions, with characters disappearing as if they were never necessary to begin with. The story itself is riddled with numerous loopholes, leaving the audience with a sense of incompleteness.
Interestingly, despite being billed as a romantic movie, Babylicious falls short on delivering genuine romance. The few romantic scenes feel forced and lack the depth one would expect. It appears they have been inserted merely for the sake of conforming to the feel-good atmosphere, reminiscent of Yash Chopra or Aditya Chopra films, but lacking the necessary background and substance. Consequently, these scenes come across as superficial and soulless.
In the year 2023, it is highly ill-advised to present an individual as a "Hero" who lacks respect for his love interest. How can one possibly idolize a man who degrades his girlfriend by using derogatory terms and questioning her character in the presence of others? These toxic traits are exactly the red flags women strive to avoid in their lives. The climax of the film is hastily and carelessly executed, leaving the audience bewildered and questioning the sanity of what unfolds before their eyes.
Babylicious, as one of the Eid releases, falls flat on multiple fronts, making it an easily skip-able experience. The movie fails to provide any semblance of coherence, entertainment, logical progression, or noteworthy performances that could be celebrated or discussed at length.
The climax is super funny, although it’s shot as a very integral part where a young boy turns to sovereign power to pray for his love and then he is dragged out of the mosque by goons to beat him up and then as soon as the heroin runs towards him, he becomes a South Indian hero who beat them all up unrealistically.
The blatant disregard for respect and the absence of sensible storytelling render Babylicious a disappointing venture that leaves viewers wondering why they invested their time in it. It serves as a prime example of how not to craft a film!
Essa Khan’s debut film falls short on multiple aspects. Music of the film is a strictly okay-ish as there are no songs that offer repeat value or can be remembered. A few comic scenes which are farfetched bring smile in a throughout dull affair. Let’s hope and wish that the director brings something interesting and engaging next time that offers entertainment for the audience.
Babylicious is a forgettable cinematic offering that lacks substance, entertainment value, and meaningful performances. The movie disappoints with its unresolved plot points, lackluster character development, and an inability to truly capture the essence of romance. While there are a few moments that manage to captivate, overall, the film fails to leave a lasting impression or evoke genuine emotions from its viewers.