Fateh Story - Fateh (Sonu Sood), a former assassin, was once affiliated with an agency that contracted him for various killings and the retrieval of items from perilous locations worldwide. However, he has since abandoned that life and established a new existence in a remote village in the heart of Punjab. There, he encounters a girl who regards him as an older brother. One day, she mysteriously vanishes, prompting Fateh to embark on a mission to locate her. In his pursuit to rescue her, he uncovers an extensive network of cybercriminals involved in fraudulent loan schemes that are affecting the entire nation. The remainder of the narrative explores the lengths to which Fateh will go to eliminate those responsible.

Fateh Review:

One of the enthusiasts of Animal/Pushpa (it may be advisable to seek professional help first) should commit to an in-depth analysis of how the last five years have influenced the portrayal of violence in cinema, predominantly in a negative manner. Characters armed with firearms, utilizing vehicles as weapons, possessing deep, resonant voices, and exhibiting a blatant disregard for law enforcement or societal norms dominate the narrative, as if the world were inherently theirs to control, with the audience seemingly complicit in this dynamic. The phenomenon resembles a form of Stockholm syndrome, where the allure of such films has led to a troubling trend, prompting other productions that might have taken alternative paths to mimic these narratives, thereby exacerbating the issue beyond the original films. 

Sonu Sood, making his directorial debut, presents Fateh, a character introduced repeatedly through various songs and a recurring chorus that plays each time the camera focuses on him. 

Co-written by Sonu Sood and Ankur Pajni, Fateh aspires to emulate the essence of films like John Wick, featuring a retired assassin who wishes to abandon his violent past, only to be drawn back into the fray by circumstances beyond his control. However, Fateh ultimately devolves into a film that attempts to incorporate every conceivable trope of the genre within a single narrative. One can easily discern the writers' efforts to consume ten films in a single day, striving to integrate the most compelling elements from each into their screenplay. Given this transparent approach, it is unsurprising that the film follows the most predictable, clichéd, and ultimately uninspiring trajectories.

The film presents a blend of elements reminiscent of John Wick, infused with a significant dose of token patriotism, an abundance of animalistic behaviour, a blatant disregard for established systems, and numerous plot points that seem to vanish without a trace. For example, the narrative opens with Fateh embarking on a quest to locate Nimrat, only to abruptly shift his focus to serving his country (despite his background as an assassin, not a defence official). He momentarily forgets Nimrat, only to remember her at a critical moment, subsequently reverting to his role as the hero. Throughout this journey, the film makes several questionable choices. The success of the John Wick franchise can be attributed to its commitment to the integrity of its central character. No one imposed the dual role of assassin and virtuous individual upon him, nor did he need to justify his actions by demonstrating his occasional assistance to the government.

In contrast, Fateh engages in such actions and more yet fails to leave a lasting impression. The narrative is a perplexing amalgamation, further complicated by a nonlinear screenplay that frequently shifts between different time periods and locations. Fateh travels to a clandestine location in the Gulf via Dubai and returns to India after devising an elaborate plan within the same day, with the editing suggesting that these events may have been mere hallucinations. He interacts with a character named Ayappa Sir, portrayed by Prakash Belawadi, who might as well place a sign on his door reading, “Turn back if you expect me to portray a secret agent/intelligence officer or the problem-solver.”

The action sequences in Fateh are noteworthy, and Sonu Sood makes a commendable effort to infuse a sense of intensity and edginess into the film. However, the overall impact is diminished by the subpar CGI and VFX, which appear quite rudimentary. It is evident that the actor portrayed on screen, drenched in artificial blood, was never actually harmed, with the blood even appearing pink at times. Certain scenes seem to exist solely for shock value, and much of the violence lacks coherence. There is a particular sequence that suggests Sonu aimed to create his own version of Animal (2023), which raises questions. Additionally, it would be beneficial to move past the ‘Mendak Bichoo’ narrative once and for all. Films like Darlings, Kuttey, and now Fateh have rendered this trope rather stale. Furthermore, the role of Jacqueline Fernandez in the film seems superfluous, and her lack of survival instincts is puzzling, especially given her character's confrontation with ruthless cyber criminals. The plot revolves around these criminals framing Fateh as the mastermind behind a nationwide financial crisis, yet by the conclusion, it feels as if everyone has conveniently forgotten this significant event, akin to a spell cast by Doctor Strange. One must also ponder what led Naseeruddin Shah to participate in this project.

Fateh Verdict

Fateh, despite the evident effort invested in its creation, provides minimal opportunities for redemption. Its concise runtime is packed with elements that aim to emulate the dramatic style of John Wick, yet it ultimately falls short, resembling a feeble imitation of Animal. This represents a disappointing path for any cinematic endeavour.

Fateh releases on the big screen on January 10, 2025. Stay tuned to Mobile Masala for more information on this and everything else from the world of streaming and films.

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