The Best Part of TBMAUJ is Kriti Sanon As the Bad Robot


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The Scandalous Woman

Accompanied by ominous music and cinematography that deliberately leans into visual tropes from horror, Sifra transforms from cheerfully docile to a bad robot. Tics make her statuesque figure twitch unexpectedly. Her gait slips every now and then, turning her catwalk-worthy strides into awkward lurches. She slaps an annoying aunty, refuses to follow orders, and breaks into a rendition of Madhuri Dixit’s infamous “Dhak Dhak” dance that scandalises all those present. It’s a testimony to the genius of choreographer Saroj Khan that the bust-thrust move she gave Dixit more than 30 years ago can still make people break out in nervous, hormonal sweat. While Sifra mouthing the lyrics of “Dhak Dhak” to Aryan’s uncle makes jaws drop, the  real shocker is when Sifra doesn’t hesitate to shove aside Aryan’s grandfather (played by Dharmendra). The old man is no match for the strength unleashed by Sifra’s corrupted motherboard — ah the rich symbolism of gendered terms — and he falls to the side. Everyone gasps in concern and horror. Sifra moves on, intent upon destruction and determined to set fire to everything in her way.

It is at this point that Aryan makes his hero’s entry, walking through a frenzy of dancing flames in slow-mo and carrying a sword (you decide whether this is an ode to Padmaavat (2018) or a hat-tip to Sigmund Freud’s take on phallic symbols). Aryan tries to restrain Sifra, but she shakes off his hand and refuses to follow his command. Instead she hits him and draws blood. With tears in his eyes, Aryan strikes Sifra (with the hilt of his sword). She staggers, but recovers to lock eyes with Aryan again. One bit of skin peels off her face to show glinting metal. Aryan hits her again. What else is a man to do when his woman, sorry robot, is out of control?

Rather than the love story between Aryan and Sifra, which is rather anodyne despite songs, kisses and a sex scene, it’s when Sifra of the malfunctioning motherboard takes the spotlight that TBMAUJ feels exciting. It shouldn’t be a spoiler that Sifra acts out because ever since Fritz Lang’s Metropolis (1927), we’ve known that if there’s a robot in a movie, it will go bonkers and unleash chaos. However, the unexpected detail is that it’s only when Sifra starts misbehaving that TBMAUJ finally gains a wrinkle of complexity.

Disclaimer: This story is auto-aggregated by a computer program and has not been created or edited by Metroclassify. Publisher:


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