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Which is the last movie of Sunny Deol where he did anything other shouting, yelling or beating 50 people without being hit?

Can't remember?

Don't worry. It's a difficult question anyway.

Fact is, the most stereotyped hero in the history of Hindi cinema has always been lucky to go unnoticed.

He gives one big hit every few years, and people hail him as if he is the greatest actor in the world.

Unfortunately, chest beating, fist pumping and thrashing people doesn't amount to acting.

But who will tell Sunny that?

He lives in his coccoon, and has a legion of fans who won't hear a word against their HERO.

It doesn't matter if that hero is 68, refuses to age, yet becomes uncomfortable the moment the age factor is brought into a discussion.

Here's an old guy who refuses to be anything but arrogant and stubborn.

He will defy his 68 years and hit 68 men, but dare anyone hit him even once.

Jaat is another one of those mind numbing gas that comes out of the hero's exhaust pipe.

Ziddi, Salaakhen, Zor, Champion, Farz, Gadar, Indian, Jaal, Maa Tujhe Salaam, Gadar 2... the list is endless.

Yet people worship this nepo kid, and that gives him courage to come up with inanities like this.

While his contemporaries have accepted age, and diversified their portfolios, getting well-written parts that may not be the lead, Sunny refuses to age. Character variation or diversification of portfolio are concepts alien to him. He has only one stock expression, and understands only one emotion; anger. No wonder he has a constipated smile. Thank god, the goons did not let him have those idlis.

JAAT is not a film. Its an assault on the sense of anyone who has sensibilities. Of course, the target audience will say otherwise. Neither is the plot longer than a line, nor does the lead gets to speak more than a line in most scenes.

In such a mindless saga, it is disappointing to see an actor of Randeep Hooda's caliber getting wasted, and thrashed. He is the real JAAT, but is made to play a souherner. Indian audience shoud be ashamed not to have recognized the brilliant work of this actor, and forced him to take up such inconsequential parts.

As for the makers, well those from the South industry are essentially hero worshippers. RRR, KGF, Pushpa etc are the recent examples.

It doesn't matter which language they make their movies, it begins and ends with giving the hero divine status. That the hero in this case is 68 years old and can't stand properly... well, who cares.

I happened to see in an interview that Ramgopal Varma said Daud (1997) was a more experimental music album as compared to Rangeela (1995).

RGV is right. Rangeela became a blockbuster and the music caught on. Daud flopped on release, and people forget its music.

The fact is, AR Rahman made more experiments with the music of Daud, as compared to Rangeela.

Another fact is, Daud has performed significantly well on the satellite circuit and the digital platforms.

The best aspect about Daud is that it is a good-looking film, that is also extremely well shot.

It is the only film where RGV gets the lead pair right.

Dutt and Urmila are a good looking people and share crackling chemistry. It is a rare thing in Indian cinema to get to see perfect casting. Daud is one such rarity.

Rangeela may have been a career-defining film for Urmila, but it is in Daud that she comes across as more matured, with a measured performance. She looks a million bucks and carries off a difficult part with elan. Not many actresses in Indian cinema can project sensuality more convincingly and effectively as Urmila.

The highly underrated Zahreela Zahreela Pyar is by far the most sensuous song in the history of Indian cinema. Yes, you read it right.

The song is among the many things that showcases the sizzling chemistry of this good looking lead pair. Enjoy it while it last. You don't get to see good looking pairs in Indian cinema, infamous for father-daughter romances.

Daud is a treat to watch, and an absolute winner.

Vaastav remains an all-time classic. Few will disagree. However, it is also a fact that Dutt and Mahesh Manjrekar did other good work together, even if that didn't reach the standards of Vaastav.

Pitaah (2002) remains among Dutt's underrated efforts, as is Hathyar (2002). The latter was an extremely well-made crime thriller, but flopped because a private channel advertised that it has acquired it (with the release date) well before the film had released.

However, unlike Pitaah and Hathyar, Kurukshetra is not only a good movie but also a box office winner. It got a great opening, and is a decent hit.

Very few may have noticed it, but fact remains Dutt is very good with follw-ups. So, if Sadak (1991) was his next release after Saajan, Gumraah (1993) followed Khalnayak.

Likewise, the delightful Khoobsurat (1999) came after Vaastav, and Kurukshetra followed Mission Kashmir.

While Dutt won multiple awards and nominations for Mission Kashmir, he received a few nominations for Kurukshetra.

While it got unnecessarily compared to Vastav, Kurushetra is a film with an identity of its own.

Dutt as an upright cop, who continues his fight even when the victim's family succumbs to temptation, is first rate.

This is Mahima's best effort. Not only she looks good, she also acts well.

Mukesh Rishi is impressive in another positive role (after Sarfarosh), and Om Puri is as good as is expected.

However, Sayaji Shinde and Shivaji Satam perform better than expected, in well written roles.

Besides, Kurukshetra is Himesh Reshammiya's first complete album. All the songs are good.

Don't make comparisons with Vaastav, and you will find Kurukshetra as a good film, with compelling performances.