It can be regarded as a relatively good quality film in Shah Rukh Khan's works after 2010. It's not good enough, there is no such thing as "the anger between man and god", but there is nothing amazing that deserves to be refined. King Khan's aura slowly faded, and Shah Rukh Khan has gradually become a "bad film agent" in the hearts of a new generation of Bollywood fans. In fact, Shah Rukh’s "bad movies" are still different from Bollywood bad movies in the true sense. For example, "Chennai Express" and "Happy New Year", although there are many slots, at least they have done a good job in entertaining the public and have fun. It's not good to watch for two hours with your heart.
The core of "The Syndicate" is very "retro", and it is a copy of the protagonist of a series of syndicate created by the "Big B" of Amitabh Bachchan in the 70s and 80s. When you see Shah Rukh midway through the car theater to warn the miller who is in arrears of wages, that section, including the movie being shown, echoes the tough guy role of the old man. The rest of the movie, like the beginning of the male protagonist riding a motorcycle, is also a tribute to the old Bachchan movie. Many people may have known from Amir Khan's Pirates of the Caribbean blockbuster "Indian Thug" (his son is generally abbreviated as "Little B" Little B Strong), who plays the role of the princess's veteran general who endures the humiliation. The "Big B" of the old Patron can be said to be a "performance artist" at the level of India's national treasure. And his famous role in the 70s and 80s is similar to Martin Scorsese's "Taxi Driver", both are young people full of anger towards the world. The theme of this type of film is somewhat similar to the social films that Koreans love to shoot later that reflect the darkness of the world. It’s just that the accusations of the Koreans are somewhat sensational in Korean style, while the "Herald" taken by the Indians themselves: somewhat of the epic fate of "Maha Bharata": neither succumbing to the hegemony of the underworld, but also Unwilling to go with the corruption of Bai Dao, there is often a bit of destined sadness. The script of "The Syndicate" also came from the very famous alcohol smuggler and gang leader Abdul Latif in Gujarat in the 1980s, but the crew denied this and claimed to be a completely fictional story. I guess it may be because the descendants of Latif and his son are still alive. It is said that he went to the crew to protest that the plot did not conform to the facts, and that it was fictitious to avoid trouble.
After talking about such a lot of things, everyone probably understands that the core of "Syndicate", let alone the international market, may be a bit "outdated" in the current Bollywood. This point can be compared to the "Hong Kong film" in the domestic film market; it has been brilliant, but there is only nostalgia. Shah Rukh Khan’s works are very similar to Jackie Chan’s works in my eyes. Both of them were born in grassroots, and both relied on genre films to turn themselves over (Shah Rukh relies on romance movies, Jackie Chan action movies), and both created movies. Miracles are also facing the transformation problem after the peak. Although their current film is not a masterpiece, it can guarantee box office revenue. And even if their works are "unwelcome", they are only aimed at the "elite" (Yah) or the tastes of film critics, and the majority of the people still love it. "The Syndicate" is still one of the highest box office growth in 2017. Ordinary Indian people don’t care about the three major European film festivals, or even go to Netflix to launch new ones. They only need to look at the familiar King Khan and the big “Indian hero” since childhood. It's okay. This is exactly the same mood as our mainland movie fans occasionally see "Hong Kong Film Retro" come back.
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