Vishal Bhardwaj’s O’ Romeo arrives wrapped in its maker’s emotion. On the eve of release, the director described the film as the manifestation of his capacity for both love and violence — a personal purge of anguish and a poetic embrace of humanity’s contradictions. Watching the film after that note, one understands where the intensity comes from. What is less certain is whether that intensity consistently translates into compelling cinema.
This is a three-hour narrative that carries all the familiar traits of its director — restrained yet consuming romance, polished music, stylised action and long, brooding stretches of silence. The violence, however, is more explicit than before. Throats are slit in close detail, blood spills freely, and brutality is not merely suggested but shown. It feels deliberate, almost cathartic, echoing the filmmaker’s own admission that some of this bloodletting is symbolic — a way of striking at the monsters he cannot confront in real life.
The story revolves around grief turned into obsession. Triptii Dimri plays Afshan, a woman shattered by the brutal killing of her husband Billu, portrayed by Vikrant Massey. Their childhood romance is painted as deep and intense, the kind that defines a lifetime. His association with the underworld ends violently, and she refuses to move on. Instead, she seeks revenge and approaches Ustara (Shahid Kapoor) — a gangster whose operations remain carefully concealed beneath composure. His reluctance to get involved, followed by gradual surrender to her demand for vengeance, forms the core conflict.
Shahid Kapoor understands the director’s requirement well. His performance is measured and controlled, never overstated. He does not play to the gallery; he internalises. The chemistry between Shahid and Triptii is romantic but largely psychological. There is longing, dependence and shared darkness, but very little overt sensuality. Their bond feels more like a meeting of wounded minds than a conventional love story. Both characters are written with clarity, and their motivations remain intact even when the narrative stretches.
The film travels from Mumbai to Spain, expanding visually but not always tightening emotionally. At three hours, the pacing becomes uneven. Scenes linger beyond their necessity. The mood is sustained, but the momentum dips. The director’s indulgence in atmosphere occasionally weakens the grip of the story.
The supporting cast — Avinash Tiwary, Nana Patekar, Tamannaah Bhatia, Farida Jalal — function as flavour rather than force. They enhance texture but remain secondary. The narrative never shifts focus away from the two leads Ustara and Afshan.
Musically, the film stands strong. The background score leans heavily on acoustics — bass guitar, violins and layered instrumentation that underline tension without overwhelming it. The use of 90s songs as recurring background elements, especially “Dhak Dhak Karne Laga” in an elaborate early fight sequence, is a bold stylistic choice. It adds irony and nostalgia, though it also signals a trend seen in recent cinema.
O’ Romeo does not attempt reinvention. It stays firmly within the director’s established terrain — moral grey zones, love intertwined with vengeance, stylised violence and poetic undertones. There is conviction in the filmmaking and sincerity in its emotional core. Yet the length and indulgent pacing prevent it from reaching the sharpness it aims for. The passion behind the project is visible, but passion alone does not guarantee impact.
It is a film that holds attention in parts, impresses with craft, and delivers committed performances, yet stops short of being truly gripping.
Movie: O’ Romeo
Directed by: Vishal Bhardwaj
Featuring: Shahid Kapoor, Triptii Dimri, Nana Patekar, Avinash Tiwary, Tamannaah Bhatia, Disha Patani, Farida Jalal, Vikrant Massey, Hussain Dalal, Rahul Deshpande
Run Time: 2hrs 58mins
O Romeo
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