Rating: 2.5 stars out of 5.

Language: Hindi.

Directed By: Tony D’Souza

Produced By: Shobha Kapoor, Ekta Kapoor, and Sony Pictures Networks

Written by: Rajat Aroraa

Cast:

Emraan Hashmi as Mohammad Azharuddin.

Lara Dutta as Meera

Prachi Desai as Naureen, the first wife of Azharuddin.

Nargis Fakhri as Sangeeta Bijlani, the second wife of Azharuddin.

Kulbhushan Kharbanda as Azhar’s Nanu.

Rajesh Sharma as M. K. Sharma

Azhar, the movie, does not claim to be a biopic.

It is a fictionalised picturisation of Mohammad Azharuddin’s life-story. Azhar was the skipper of the Indian cricket team—making his way from a middle-class home to the pinnacle of Indian sport, from simplicity and humility to the easy arrogance of Armani suits, from a reclusive , reticent person to seeking and gaining the favour of one of Bollywood’s top actresses.

The movie is an attempt to whitewash and dramatize the Hyderabadi’s part in the match-fixing scandal that rocked the cricketing world in the 2000s.

Emraan Hashmi essays the title role with aplomb and mimics the former Indian skipper’s mannerisms to a T but is unable to dominate the frame in the way you’d expect a larger-than-life Azharuddin to do.

Azhar’s teammates are reduced to caricatures jealous of his success, philanderers and simply unwilling to be embroiled in the messy match-fixing soup the protagonist finds himself in.

The famous showdown between Navjot Singh Sidhu and Azhar during in the 1996 England tour wherein the Sikh famously walked out of the side and returned home is not even alluded to in the film.

Jaywant Lele, in his autobiography, reveals the reason was that Sidhu was constantly abused by his captain.

The movie focuses on the court case filed by Azhar against the life ban imposed by the ICC and the BCCI which incidentally he won in 2012. The ban was revoked by the BCCI in 2005.

The movie fails to capture other aspects of Azhar’s life such as the tragic death of his son Ayazuddin in 2011. The separation from Sangeeta Bijlani is skipped over and there is no mention either of this third marriage to long-time friend, Shannon Marie or his rumoured affair with Jwala Gutta—which incidentally both deny vehemently.

There is also little focus on his aggressive fielding at point and the training that made him one of the most brilliant fielders of his generation.

The women protagonists have surprisingly substantial parts in the film.

Prachi Desai as Naureen is demure, sensitive and suffering. She is dignity itself while certainly not a women’s lib proponent.

Hashmi portrays Azhar as both bewildered by the turn of events and his personal turmoil yet fascinated by his new love interest, Sangeeta Bijlani.

Bijli catches Azhar on the rebound from her failed relationship with Salman Khan, leader of the brat pack of Bollywood. Azhar’s dedication of his match-winning knock to his new love interest at a man-of-the-match ceremony—signalling the end of his first marriage—is crass and cowardly.

Nargis Fakhri as Sangeeta is disappointing, unable to capture her glamour or her chutzpah at snaring a married cricketer under the noses of his unsuspecting spouse and the media. She comes across as a weak-willed woman who succumbs easily to the advances of a married man. The melodramatic scenes evoke very little emotion. Fakhri is no thespian. Period.

Bollywood and cricket can never be divorced. Dalliances happen all the time but seldom end well.

Lara Dutta as Meera, the defending counsel, has the most substantial role after Hashmi in the film. She’s bold and gutsy, speaks her mind and makes no bones about turning from friend to foe, fan to hater.

Ajay Sharma, Manoj Prabhakar, Ajay Jadeja and Azharuddin were all banned by the BCCI—Prabhakar and Jadeja for five years.

Jadeja’s ban was lifted in 2003 and he made a return to domestic cricket but he was never the same batsman. He never played for India again. Nayan Mongia—accused by Azharuddin—-was forced to retire despite not being found guilty by the CBI.

Hansie Cronje was the most tragic victim of this match-fixing scandal dying in a plane crash.

MK Sharma (MK Gupta) is the bookie turned approver who introduces Azhar to the sordid world of match-fixing.

Azhar—in the movie—purportedly accepts a bribe but only to shield his teammates from temptation. The reasoning is so spurious that one would best walk out from the movie hall at this point.

Navneet Mundhra writing for SportsKeeda does a competent job of listing the facts and distortions in the movie.

(Mundhra’s piece refreshed my memory about the facts of the case. The match-fixing controversy was the first to hit Indian cricket and it was the reason why I stopped following Indian cricket for a while. The Indian cricket fan has never been the same—the joys of victories tinged with suspicions about losses. Tehelka made its reputation for hard-hitting journalism based on its revelations with Manoj Prabhakar’s assistance.

My memories of Azza are of a wristy batsman who burst on the scene as a bundle of talent scoring three consecutive Test centuries on debut in a home series against England after staking his claim with a series of excellent scores in domestic matches. Azhar had arrived.

He was not—by any reckoning—a brilliant skipper, more a lucky one. He began the trend of having pitches suit the home side in Indian cricket.

He had a weakness against short-pitched pace bowling which he responded to in a counter-attacking style—all aggression , preferring to die by the sword rather than live on his knees.)

The scoreboard listing the mangled names of Sri Lankan and Indian players gives the game away.

The movie would have appealed to viewers more had it attempted to be a more accurate portrayal of Azhar’s feats and foibles. Look no further than The Program for a template.

The movie is bland and boring.

If you’re a die-hard Azhar fan, you’re better off staying home and catching his batting and fielding videos instead on Youtube or DVD.

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