O’ Romeo Movie Review: Vishal Bhardwaj’s Ambitious Gangster Romance

Bollywood has a long history of reimagining classic tales through the lens of Indian cinema, but Vishal Bhardwaj’s “O’ Romeo” takes a different approach entirely. Rather than adapting Shakespeare’s tragic romance, this film uses the name as street slang—the colloquial term for a lovelorn man—to tell a gritty crime saga based on the real-life Mumbai gangster Hussain Ustara. The result is a Tarantinoesque fever dream of violence, obsession, and doomed romance set against the backdrop of 1990s Mumbai.

Plot Overview: Love in the Time of Gang Warfare

The narrative centers on Hussain Ustara (Shahid Kapoor), a feared enforcer whose reputation stems from his signature method of killing—using a barber’s razor (ustra) to devastating effect. Working under the protection of Intelligence Bureau officer Ismail Khan (Nana Patekar), Ustara operates in Mumbai’s underworld while planning his eventual escape from the criminal life.

His carefully laid plans unravel when Afshan (Triptii Dimri) enters his world seeking revenge for her husband’s murder. What begins as a professional contract evolves into obsessive love, as Ustara abandons his exit strategy to help Afshan eliminate her targets—including Jalal (Avinash Tiwary), a Spain-based drug lord with whom Ustara shares a bloody history.

The story unfolds in Mumbai’s Muslim quarter during the 1990s, a period when organized crime reached its zenith in the city. Bhardwaj layers the personal drama against this historical backdrop, even incorporating observations about how the Babri Masjid demolition in 1992 communalized criminal activities.

Directorial Vision: Style Over Substance?

Bhardwaj approaches this material with his characteristic visual flair, crafting action sequences that prioritize aesthetic impact over realism. The violence is stylized to the point of choreography—blood spatters become brushstrokes in a grim painting of Mumbai’s criminal underbelly. Opening scenes establish the tone immediately, with Ustara dispatching enemies while dancing to “Dhak Dhak Karne Laga” playing in a theater.

The director’s treatment of romance follows a similar pattern of excess. The relationship between Ustara and Afshan contains moments of genuine tenderness, but these are often overshadowed by the film’s relentless pace and gratuitous brutality. Bhardwaj seems more interested in the aesthetic of obsession than in exploring its psychological dimensions.

Where the film succeeds is in its atmospheric recreation of period Mumbai. The cinematography captures the vibrant colors and cramped spaces of the city’s Muslim quarter, while the music—composed by Bhardwaj himself with lyrics by the legendary Gulzar—provides emotional texture that the violence often overwhelms.

Performance Analysis

Shahid Kapoor commits fully to the role of Ustara, adopting a swaggering physicality that combines menace with unexpected vulnerability. His styling—resembling a cowboy transplanted to Mumbai—underscores the character’s outsider status even within his own criminal community. Kapoor finds moments of childlike obstinacy within the killer’s persona, making Ustara compelling even when the character’s actions defy logic.

Triptii Dimri brings a fierce determination to Afshan that elevates her beyond the typical love-interest role. She’s not a shrinking violet waiting to be rescued but an active participant in her own revenge narrative. The chemistry between Dimri and Kapoor generates genuine heat, though the script doesn’t always give their relationship room to breathe between action sequences.

Nana Patekar brings gravitas to his limited screen time as the manipulative IB officer, while Avinash Tiwary makes a strong impression as the antagonist Jalal despite appearing in relatively few scenes. The supporting cast, including Hussain Dalal as Ustara’s loyal lieutenant, provides solid groundwork for the leads.

The Tarantino Comparison

Critics have widely compared “O’ Romeo” to Quentin Tarantino’s work, and the parallels are evident. The non-linear storytelling, pop culture references, stylized violence, and dark humor all echo the American director’s signature approach. However, Bhardwaj filters these influences through a distinctly Indian sensibility, incorporating classical music elements, religious undertones, and local Mumbai flavor.

The comparison becomes less flattering when considering narrative substance. Where Tarantino’s best films use style to enhance character development and thematic exploration, “O’ Romeo” sometimes feels like style for its own sake. The film’s obsession with aesthetic perfection occasionally overshadows the human story at its center.

Cultural Context and Themes

Beyond its crime narrative, “O’ Romeo” touches on several resonant themes. The communalization of crime following the Babri Masjid demolition provides historical context, while Ustara’s relationship with systemic corruption—working for a government officer while operating outside the law—reflects broader questions about institutional morality.

The film’s treatment of love as obsession connects to traditional Bollywood romance tropes, though filtered through a dark lens. Ustara’s devotion to Afshan resembles the “aashiqi” tradition of devoted, all-consuming love, but the violence surrounding their relationship transforms romance into something more sinister.

Final Verdict

“O’ Romeo” succeeds as a visual experience and a showcase for its talented cast, even when the narrative struggles to match the director’s ambitions. Shahid Kapoor delivers a committed performance that ranks among his best work, while Vishal Bhardwaj’s technical craft remains impeccable. The film offers plenty of style and atmosphere for viewers who appreciate carefully constructed action cinema.

However, the relentless violence and uneven pacing prevent it from achieving the emotional resonance it seeks. The romance at the story’s core needed more breathing room to develop beyond its surface appeal. As a gangster film, it hits familiar beats without transcending them; as a love story, it’s too often interrupted by carnage.

For fans of stylized crime cinema and Vishal Bhardwaj’s particular aesthetic, “O’ Romeo” delivers sufficient pleasures to justify its runtime. Those seeking deeper character exploration or narrative innovation may find the film’s excesses ultimately exhausting rather than exhilarating.

Have you watched O’ Romeo? Share your thoughts on the film in the comments.