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Film Review ‘THAR’: The film ‘Thar’ is dry and dirty like a desert

Film Review ‘THAR’: Making films influenced by foreign countries is not a new thing in our country. In America, films on the lives of cowboys, which are called “Western”, have been made for more than 100 years. The history of western films is very old and now that kind of background has been sacrificed due to development, if now a film is made on that background then it is considered as Neo Western. Cowboy or Western films depicted a white man riding a horseman, wielding a gun and revolver, wearing a large hat and high-heeled boots, arriving in a Mexican or South American town. He used to fight with the Bahubali of the village for supremacy by looting and in the end he used to kill everyone and take the village girl with him.

The story of the village remains almost the same in our country as well, and against the zamindars, a foreign soldier used to come and protect the village. If you remember properly, then India’s most successful film Sholay was also a western style film. In this episode, films like China Gate, Mera Gaon Mera Desh, False Coins, Orphan, Partition, Ghulam and many more have been made. Most of the films of this genre in India have been made on the background of Rajasthan or some films are settled in the ravines of Chambal or the villages of Uttar Pradesh. If desert, poverty and zamindar-raja-maharaja are still found in Rajasthan, then films of this style can still be made.

After a long time a film named ‘Thar’ has recently been released on Netflix which is a Neo-Western style Indian film. A village on the border of Hindustan-Pakistan in Thar, a desert area of ​​Rajasthan, where there is a large remotely built kutcha house, a police station, a bus stand and a dhaba, and Inspector Surekha worked as a police station officer for many years. Singh (Anil Kapoor). The whole area is desert, people go outside the village to graze their goats and some people go outside the village to work as laborers. One day an urban babu Siddharth (Harshvardhan Kapoor) arrives, takes some men for work in the city and strikes up an affair with the wife of one of them (Fatima Sana Shaikh).

As the dust of the desert blows away, it is revealed that this urban babu is torturing and killing these people by hanging them in the fort. The police fall behind, but in the middle come the opium smugglers who open fire on the policemen. By the way, Anil Kapoor reaches the fort after escaping. Harshavardhana then escapes from the village with Talaq Fatima and stays in the same fort. Anil asks Harshvardhan to surrender, but Harshvardhan, who has killed three, is shot by Fatima for killing her husband. The reason behind Harshvardhan’s murder is shown in the flashback.

There is a story of revenge and in lieu of rape, there is a reality of murder. Nothing new but the most dreaded thing in this film is its camera. Shreya Dev Dubey has filmed scenes from the flying dust of the desert to the torture in the dark fort in a very gruesome way. Not from Harshvardhan, but seeing being tortured, one starts feeling scared on its own. The carcass of a dead buffalo in a remote corner of the desert (not sounding Hindustani) also creates a strange atmosphere. In wildness, when a hungry rat is placed in a bucket and the bucket is tied on the chest, or the ears are cut off with a sharp dagger, the chest is cut off with an ax, then there is no anger, but fear.

Ajay Jayanti’s music is also a partner to create more horrifying atmosphere in every scene. Rising musician Ajay has created the atmosphere of a haunting masaan with the help of a violin. There are a lot of expectations from Ajay in the coming time. Anil Kapoor’s work is vigorous. Anil Kapoor has done wonders in the same police station for 25 years, working as an inspector in a desert station situated on the border and as a policeman who bows his head in front of the ambition of his superior officer. His tuning in with his beloved subordinate Bhure (Satish Kaushik) as he sneers in love with his wife. Harshvardhan is not even close to his father.

The feeling of fear in his eyes has not yet taken birth. Harshvardhan, who grew up in a comfortable environment, has no experience of deprivation yet. It is possible that their reference points are also weak. Harshvardhan is not scared at all. Nor is he able to do a romantic role with Fatima properly, because the lust in his eyes is also very sophisticated. He should play the character of the city man. He should have waited longer for this role. Fatima Sana Shaikh’s role is fine. The point of her being barren has been used very beautifully and her shot is very important in the climax as well.

Satish Kaushik is a champion, so he specializes in making a mark even in small roles. Rest of the actors are fine in their respective roles, no one character emerges. The demand of the story is also similar. Everyone has seen director Raj Singh Choudhary acting. He played the lead role of Dilip Singh Meena in Anurag Kashyap’s film Gulaal. Thar is his second directorial venture, before this he has directed a comedy titled Shaadisthan which was released on Disney Hotstar last year. It was a good film but didn’t get much buzz. Raj has also written some films with Anurag Kashyap like No Smoking and Gulaal. There is also an anecdote that Anurag did not give any money to Raj Singh to write or act, so Anurag joined Raj as a writer in this film and helped in writing the screenplay.

Anurag has already worked with Anil and Harshvardhan in the Netflix film AK Vs AK last year, so Anurag was already aware of their range. For the editing, the super-trustworthy Aarti Bajaj has been taken who have edited almost all the films of Anurag, Imtiaz Ali, Tigmanshu Dhulia and Raj Kumar Gupta of his troupe. The film is therefore tight in spite of its slow pace. If you are afraid of violence or do not want to see the gruesome scenes on the screen, then do not travel to the desert of “Thar” but if Anurag Kashyap’s films deter health, then let’s assume that Raj Singh Choudhary is also the director of Jod and hence Thar Be sure to see

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Tags: Anil Kapoor, Harshvardhan Kapoor

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