Nearly two decades after the original Dhamaal became a cult favourite, Dhamaal 4 arrives with exactly one mission: make as much noise as humanly possible. Plot? Optional. Logic? Strictly prohibited. Indra Kumar’s fourth outing with Bollywood’s most accident-prone treasure hunters knows precisely what its audience wants, and serves it with the subtlety of a frying pan to the face.
The story follows the familiar franchise blueprint. A mythical map sends an assortment of greedy buffoons racing across countries, double-crossing one another through mistaken identities, improbable action scenes and enough slapstick to make silent-era comedians file for royalties. If you’ve seen Dhamaal, Double Dhamaal or Total Dhamaal, you’ll know exactly where this is headed. Surprisingly, that’s part of the appeal.
Indra Kumar wisely doesn’t try to reinvent a franchise that has survived for nearly twenty years by embracing complete and utter nonsense. Instead, he doubles down on everything that made the original work. The jokes are broad, the chases are louder, the explosions are bigger and the canvas is glossier. The film resembles a string of comedy sketches stitched together by a treasure hunt that exists largely to move the characters from one chaotic set-piece to another.
That approach is both the film’s greatest strength and its biggest weakness. For the first hour, Dhamaal 4 zips along at such a frantic pace that you barely notice how thin the story is. But by the second half, the formula begins to repeat itself. Another chase. Another misunderstanding. Another character screaming at maximum volume. Another improbable escape. By the time everyone is still chasing the same treasure, you begin wondering whether the real treasure is simply a moment of silence.
The humour remains resolutely old-school. There’s no attempt to lace the comedy with social commentary or contemporary satire. This is unapologetic slapstick, people falling over, crashing vehicles, punching each other, getting mistaken for someone else and generally behaving like adults who were unsupervised for far too long. Some jokes land beautifully; others feel recycled from earlier films. If you aren’t already on the franchise’s wavelength, Dhamaal 4 isn’t about to convert you.
Thankfully, the cast understands the assignment.
Jaaved Jaaferi once again walks away with the film. As the hopelessly dim Manav, he remains the franchise’s secret weapon. His elastic expressions, impeccable physical comedy and ability to turn sheer stupidity into comic gold remain unmatched. Every time the film threatens to lose momentum, he arrives with another wonderfully ridiculous moment.
Arshad Warsi continues to prove why he is one of Hindi cinema’s finest comic actors. He never appears to be trying too hard, which somehow makes everything even funnier. Riteish Deshmukh slips comfortably back into familiar territory, generating laughs through impeccable timing rather than loud theatrics.
Ajay Devgn, meanwhile, performs the invaluable role of the straight man. Surrounded by characters operating on approximately two functioning brain cells between them, his trademark deadpan reactions provide the perfect counterpoint. He never tries to out-funny the others; he simply lets the madness bounce off him. Sanjay Misha plays his sidekick and the two play-off each other nicely.
Ravi Kishan plays a pirate based on Captain Jack Sparrow. He, Upendra Limaye and Vijay Patkar enthusiastically embrace the film’s comic anarchy.
Anjali Anand plays Riteish Deshmukh’s overweight wife, and while the screenplay deserves some credit for resisting the temptation to turn every scene into a weight-shaming exercise, the character still feels forced. Sanjeeda Sheikh spends much of the film playing Arshad Warsi’s perpetually exasperated wife, frequently ending up at the receiving end of Manav’s spectacular clumsiness.
Technically, Dhamaal 4 certainly looks bigger than its predecessors. The production design is colourful, and the action is mounted on an ambitious scale. The film constantly feels like it’s trying to outdo itself visually, even if the screenplay occasionally forgets to keep pace.
The biggest issue is exhaustion. Every scene aims for maximum volume. Every joke arrives at full speed. Every chase tries to top the previous one. The film rarely allows audiences to breathe, making the relentless barrage of shouting, running and crashing increasingly repetitive. Comedy often benefits from rhythm; Dhamaal 4 mistakes volume for momentum.
Yet complaining about logic in a Dhamaal film feels slightly absurd. Nobody buys a ticket expecting sophisticated storytelling. They come to watch grown men behave like escaped inmates from a particularly chaotic circus, and on that front the film delivers exactly what it promises.
Dhamaal 4 won’t convert sceptics, nor will it rank alongside the freshness of the original. But for audiences who simply want to switch off their brains and spend two hours watching organised idiocy unfold on an increasingly ridiculous scale, there’s enough madness here to justify the trip. The film is set for a sequel so be prepared for more brainrot.
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Disclaimer : This story is auto aggregated by a computer programme and has not been created or edited by DOWNTHENEWS. Publisher: filmfare.com
