SANJU is more than just Ranbir Kapoor's slightly awkward transition to Sanjay Dutt. With a package of drama, comedy, and wholesomeness, Raj Kumar Hirani did what he does best – induce happy tears in his viewers. 'Masaan' fame actor Vicky Kaushal, who plays Sanjay's selfless friend Paresh, makes his screen presence felt throughout the film. He might even draw more emotions from viewers than the lead actor himself because he does impeccable justice to an already lovable character.
Another stellar performance in the film is by veteran Paresh Rawal who plays Sanjay's father legendary actor Sunil Dutt. Rawal's portrayal of Dutt not only conveys the disciplinarian that he was but also makes the father-son relationship a real tear-jerker.
Four supporting female characters in the films – Sanjay's wife Maanyata, his girlfriend from his young days, his mother Nargis, and a biographer who is studying his life – are all played by experienced actresses. They have executed above-average performances with Anushka Sharma's cringe-worthy British accent and Sonam Kapoor's unenthusiastic expressions being bumps in the ride.
However, the characters of Sanjay Dutt's sisters, Namrata and Priya, are mere bystanders throughout the film, with a pointless dialogue or two on their part. Why the two roles, especially one of the politically vocal Priya Dutt, were unused, is better known to the director himself.
Being a biopic, the film had little to be played around with and one may feel that few side plots have been under exploited like Sanjay's time in jail. Apart from the scenes in the trailer, little has been shown about his prison life. It makes you feel the hints that the movie was made solely to bare Sanjay Dutt's public image of being involved with terrorists are real. As convincing as the story appears to be, one can not help but wonder how many convicts don't have a famous father fighting their war against false or exaggerated allegations. If, by any chance, one of Hirani's undertone for the film was to make people question this, he could have been more explicit about it. Somehow, unlike other Raj Kumar Hirani productions, this one fails to carry a social message and ends up being a metaphysical attempt to make people see Sanjay Dutt's innocence.
The movie has also a commentary on the Indian media's inefficiency with a post credits song entirely dedicated to yellow journalism. Although the contention in this regard is justified, it is too generalised to be convincing.
One question remains unanswered at the end of the film – why needlessly use substandard computer-generated imagery when it can be easily done without?
Apart from the minor avoidable flaws, the film deserves one-time viewing for good acting, Ranbir's efforts, and feel-good portrayal of friendships – between not only friends but between father and son and husband and wife.