Riteish Deshmukh, Nargis Fakhri's film tries your patience and sanity. Full of shouty dialogues and expected situations, even most of the songs fail to live up to its theme. Banjo has practically no redeeming features. The only time the film stops trying your patience somewhat is when it bursts into song, and even there, it has only one which is foot-tapping.
Banjo takes an awfully long time to come to the point. And when it does after much hemming and hawing, it is let down badly by the lack of a believable storyline and crushed by the burden of an inept and confused screenplay. Banjo offers little that could force the audience to sit up, let alone stand up and break into dance. Rarely does a film press so much noise into service to achieve so little in the end. Heed this warning: don't get within the earshot of Banjo.
BANJO fails to strike the right notes on account of its low hype, confused second half and bizarre culmination. At the Box-Office, it will struggle for decent footfalls.
Banjo is easily passable. Why would you waste your money to watch Nargis’ acting and Riteish juggling between his Lai Bhaari and rockstar character. A few quirky dialogues that manage to give you comic relief in the otherwise boring film are the only good part of the movie. This has a poor script and is a confused genre of the film.
While the story is pretty formulaic (a bunch of street musicians making it big by winning against all odds), the execution and supporting performances are heartfelt. The music could have been better though. Addition of unnecessary drama and random events in the second half slows down the pace considerably, also making the film a tad cliched. The gorgeous Nargis overdoes the American accent but grows on you eventually.
Banjo makes a winsome start but takes an awfully tedious route to achieve its happily ever after. More than the leads, it’s the supporting cast of Yelande, Kumar and Menon that stay true to the milieu and brace Banjo’s banality and triviality with refreshing zing and idiosyncrasy. By the time Banjo serves its dark horse comeback to a pounding Vishal-Shekhar spectacle laced in unabashed Maharashtrian pride, indifference has seeped in.
Banjo begins on a promising note and Manoj Lobo’s camera glides you through dirt, agony and compassion. Had this 137-minute film refrained from long cross-conversations and forced conflicts in the second half, it could have struck a better chord. Riteish has come out of his comfort zone and that’s the best thing about Banjo.