Everything you need to know about Liger is there in a few seconds of the musical number ‘Aafat’. After the chorus (“jawani teri aa-fat”), Ananya Panday mimes to a sampled female voice that pleads “bhagwan ke liye chhod do mujhe”. Now, any viewer of Hindi cinema knows this is what a heroine says when she’s fighting off a rapist. Liger is well aware this will irritate critics of its gender politics, yet it inserts the line in a horny love song. As a gesture, it’s childish, it’s self-aware, it’s parody, it's provocation.
I’d assumed that since Vijay Deverakonda plays a MMA fighter in Puri
Jagannadh’s film, his ring name must be Liger. Silly me. That’s his birth name,
given to him by Lion Balram (also a fighter, long deceased) and Tigress
Balamani (Ramya Krishnan, who spends another film yelling at everyone about her
son’s abilities). In the Shel Silverstein country number ‘A Boy Named Sue’, a
father gives his son a girl’s name so people pick on him and he becomes tough.
If Balamani's strategy was along these lines… well, it works. Liger grows up
unbeatably tough, graduating from the streets of Karimnagar to Ronit Roy’s dojo
in Mumbai, where he’s given the MMA training he barely seems to need.
As if going through life responding to 'Liger' isn’t bad enough, our hero
also has a speech impediment. This wouldn’t be a big deal, except the film treats
the condition like an incurable, shameful disease. Liger’s stammering is made
relentless fun of. Well-wishers complete his sentences. Tanya breaks up with
him because of it, telling him, “What if I give birth to someone like you?” We
later find out she has other reasons, but by then the film has revealed enough
of itself for the audience to know where its heart lies.
This is caveman cinema. The first words we hear, via voiceover, are: “To
make man’s life hell, god created dolls called women.” Instagram celebrity
Tanya (Panday) rejects Liger at first, but then finds herself hopelessly
attracted after watching him beat up the entire dojo. Tanya is a collection of
Telugu cinema’s worst impulses, so airheaded and shallow she doesn’t realize
her boyfriend stutters until halfway into the film (she says things like “I
feel like giving you a pappi”). But Balamani is worse, a smothering
matriarch constantly screeching about the mini-skirted devils who will seduce
her son away from his life’s purpose.
When they first meet, Tanya gets into an argument with Liger and grabs his
collar. Of course, he grabs hers’ back. She’s threatened twice with hockey
sticks, first by her brother, then by a jilted Liger. It’s only right that Arjun
Reddy is namechecked—it’s the fount from which this tepid stream emerges.
That film made Deverakonda a star, and it’s not surprising Liger has the
same template: prodigiously talented man yells a lot as women mess with his
head. In fact, ‘Arjun Reddy’ has become shorthand for such a recognizable kind
of jock that Jagannadh can afford to briefly send up the type. As Liger is
being pulverized by female krav maga fighters, he asks them “Who will marry
you?” and “Did I get you pregnant and abandon you?”.
Liger demolishes everyone he comes up against, in marketplaces and trains
and amphitheatres, and more productively, in the national and world MMA
championships. The latter tournament takes him to Las Vegas (Chunky Panday
turns up for a few glorious minutes), and then to a ranch where he meets
hastily drawn-up villain Mark Anderson, played by Mike Tyson in a cowboy hat.
Their climactic grapple is silly, but the fights that come before are largely
effective, with Deverakonda a lanky, attractive brawler (the krav maga beating
is a nice piece of action choreography).
Liger's mother refers to him as a ‘crossbreed’—a weirdly derisive way to
describe your son. The film, too, is crossbred: produced by Dharma and
Jagannadh, shot simultaneously in Hindi and Telugu, with one Tollywood and one
Bollywood lead. But the crude energy and the gleeful anti-wokeness is decidedly
not-Bollywood. If the pan-India film is to grow, it won’t be by bankrolling
each other’s worst tendencies.
This review was published in Mint Lounge.
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