Film ‘O Romeo’ Review: Brilliant Performances by Shahid Kapoor, Nana Patekar, and Tripti Dimri Undermined by Weak Writing

By Shantishwarup Tripathi

• Rating: 2.5 Stars
• Producer: Sajid Nadiadwala
• Story: Hussain Zaidi
• Writers: Vishal Bhardwaj and Rohan Narula
• Director: Vishal Bhardwaj
• Cast: Shahid Kapoor, Tripti Dimri, Nana Patekar, Avinash Tiwary, Disha Patani, Tamannaah Bhatia, Farida Jalal, Hussain Dalal, Rahul Deshpande, Sarthak Khurana, Adarsh Jain, and others
• Duration: Approximately three hours

Writer-director Vishal Bhardwaj and actor Shahid Kapoor had stayed away from working together for eight years after delivering films like Kaminey, Haider, and Rangoon. Now, after a long gap, they reunite with O Romeo, which hit theatres on 13 February as a Valentine’s Day offering.

However, the question is—who is this film really for? If you enjoy Vishal Bhardwaj’s dark cinematic style filled with cruelty and brutal violence, O Romeo might appeal to you. Otherwise, it may feel like a criminal waste of time and money. While the film does not lack love, romance, and emotions, it is also soaked in excessive violence and bloodshed. The biggest strength of O Romeo lies in the performances of Shahid Kapoor and Tripti Dimri. Its weakest link is the writing.

Story

At the center of the film is Ustra (Shahid Kapoor), a dangerous underworld gangster and contract killer who works at the behest of IB inspector Ismail Khan. His world is filled with violence, bloodshed, and darkness.

His life takes a turn when Afshan (Tripti Dimri) approaches him seeking revenge against her husband’s killers. From here, the film attempts to move beyond the template of a regular gangster drama and evolves into an emotional journey of two broken individuals seeking solace in each other.

The relationship between Ustra and Afshan is like a rose blooming on a pile of gunpowder—beautiful yet dangerously fragile.

Review

Cinema is not only entertainment but also a medium of social dialogue. On this front, Vishal Bhardwaj’s film fails to stand its ground. At the story level, it ultimately feels hollow.

The post-interval portion is packed with action sequences set against Mumbai’s Ganpati Visarjan, local trains, Spanish mansions and bullrings—sequences that seem more focused on inventing new ways to tear human bodies apart rather than adding meaningful layers to the narrative.

The film struggles to connect with the common audience, largely due to its weak script. Shahid Kapoor, Tripti Dimri and to some extent Nana Patekar try their best to hold the audience’s attention, but the script offers them little support. As the slow-paced three-hour film drags on, viewers may find themselves wondering why they invested their time in it.

Though one does not expect a commercial entertainer from Vishal Bhardwaj, the mistakes made by such a sensitive and experienced filmmaker here are disappointing. The story is set in 1995, yet the protagonist sports modern-day tattoos—something uncommon during that era. Shahid Kapoor had mentioned in interviews that applying the tattoos took two to two-and-a-half hours daily, but neither he nor the director convincingly addressed the period inconsistency.

Even the romance fails to leave a deep impact. Ustra and Afshan do share tender moments, but the emotional depth feels underdeveloped. The weaknesses in writing and direction are further exposed by the abrupt placement of songs written by Gulzar, which appear without organic integration into the narrative.

Performances

There is no doubt that Shahid Kapoor carries the film on his shoulders. He brings intensity and vulnerability to Ustra—a man who appears stone-hearted but is internally battling an emotional storm. Any flaws in his character stem from writing limitations rather than performance.

Tripti Dimri emerges as a powerful performer in the role of Afshan. Beyond emotional scenes, she convincingly handles action sequences as well. Audiences will see a different shade of her talent compared to her role in Animal. Her simplicity on screen balances Shahid’s fiery persona beautifully, and their chemistry is compelling.

Nana Patekar, as IB officer Ismail Khan, delivers sincerely, though one wonders why an actor of his stature was given such a limited role. Farida Jalal leaves a mark as Ustra’s grandmother. Avinash Tiwary, despite his physical transformation and intense effort—especially in sequences set in Spain’s bullfighting arena—does not fully meet expectations. The rationale behind the Spanish setting remains unexplained.

The talents of Vikrant Massey, Disha Patani, and Tamannaah Bhatia feel underutilized. However, Rahul Deshpande impresses as the classical music-loving corrupt police officer Pathare.

FAQs

What is the film O Romeo about?

O Romeo is a romantic drama that explores love, heartbreak, and emotional conflict through a contemporary lens, focusing on intense relationships and personal choices.

What genre does O Romeo belong to?

O Romeo falls under the romance and drama genre, blending emotional storytelling with realistic characters and relationship-driven narratives.

Who plays the lead role in O Romeo?

The film features emerging talent in the lead, with performances centered on emotional depth rather than star-driven spectacle.

Is O Romeo inspired by Shakespeare’s Romeo?

While the title echoes Shakespeare, O Romeo is not a direct adaptation. It uses the idea of tragic love in a modern, relatable setting.

When was O Romeo released?

O Romeo was released recently, gaining attention among indie film audiences and digital viewers for its intimate storytelling style.

Where can audiences watch O Romeo?

The film is available on select OTT platforms and digital rental services, making it accessible to a wider audience beyond theatres.

What makes O Romeo different from typical romantic films?

Unlike commercial romances, O Romeo focuses on raw emotions, silence, and character conflicts rather than songs and formula-driven drama.

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