Baby Do Die Do review: Huma Qureshi powers this pulpy revenge thriller with style

“Baby Do Die Do,” the latest film starring Huma Qureshi, attempts to blend the grit of a revenge thriller with the flair of classic Bollywood storytelling. Directed by Nachiket Samant, the film follows Baby Karmarkar, a deaf-mute assassin operating in the labyrinthine alleys of Mumbai. Her journey begins with a past tragedy—years earlier, she witnessed the murder of her sister, an event that shaped her into the cold, calculating killer she now is. Baby works under the guidance of her mentor, Jain (played by Chunky Panday), executing contracts for clients such as Zafar (Sikandar Kher), a shady builder embroiled in a conflict with Manju (Vidya Malavade), seeking vengeance for her late husband.

As Baby navigates her assignments, she finds herself drawn to Siddhu (Rachit Singh), a neighbor whose genuine affection challenges her hardened worldview. This romantic subplot introduces tension within her relationship with Jain, who fears losing his top operative. Meanwhile, the film explores the dynamics of power and corruption in Mumbai’s real estate sector, highlighting the stark contrasts between the city’s impoverished neighborhoods and the towering structures built upon them. The visual presentation includes split-screen techniques to accommodate Baby’s use of sign language, adding a unique layer to the storytelling.

The film’s title, “Baby Do Die Do,” is both a play on Baby’s name and a reflection of her philosophy—she believes she can do, die, and do again. This mantra encapsulates her relentless pursuit of justice, though it also leads to complications as her personal life intertwines with her mission. While the initial setup is compelling, the narrative falters in maintaining focus, particularly as the romantic subplot takes precedence over the central themes of revenge and justice. Critics note that the plot requires convoluted setups to reconcile Baby’s dual life, leading to some inconsistencies in the storyline.

Despite these issues, the film offers a rich tapestry of characters, each contributing to the unfolding drama. Sikandar Kher’s portrayal of Zafar adds depth to the antagonist role, while Seema Pahwa shines as DCP Anjum Khan, bringing a grounded perspective to the law enforcement angle. The supporting cast, including Vidya Malavade and Himanshu Malik, enriches the narrative with their distinct personalities and motivations. The film’s technical aspects are commendable, with cinematographer Tojo Xavier capturing the essence of Mumbai’s urban landscape effectively.

Huma Qureshi delivers a standout performance as Baby, showcasing her ability to convey emotion without dialogue. Her portrayal is nuanced, balancing strength with vulnerability, and she avoids clichés typically associated with disabled characters in cinema. However, the film’s reliance on Huma’s star power raises questions about the opportunities available to her in the industry, given that she had to co-produce the film with her brother, Saqib Saleem, to secure such a significant role.

While “Baby Do Die Do” may not fully live up to its ambitious title, it remains an entertaining exploration of revenge, love, and the complexities of identity in a rapidly changing city. Its commitment to portraying disability respectfully and its embrace of traditional Bollywood elements provide a refreshing take on contemporary cinema. As the film concludes, viewers are left reflecting on the balance between personal vendettas and the broader societal issues that shape individuals’ lives.