Thar Cast: Anil Kapoor, Harshvardhan Kapoor, Fatima Sana Shaikh, Jitendra Joshi, Satish Kaushik, Mukti Mohan
Thar Director: Raj Singh Chaudhary
Where to Watch: Netflix
Thar has drawn inspiration from spaghetti westerns such as The Dollar Trilogy, Once Upon a Time in West, Day of Anger, Death Rides a Horse, The Five Man Army, The Mercenary, Jongo, and other masterpieces of the Western subgenre. About the American Wild West became popular in Italy. Thar has nothing to do with this genre and trope of cinema, other than strict locations and serious views with a certain remote fidelity. In fact, we’ve had spaghetti western inspirations in the past, known here as curry westerns, including Sholay, Mera Gaon Mera Desh, Khote Sikka, Loha, Anil Kapoor’s own jovial Sunny Deol, and more. Netflix’s Thar has nothing to do with spaghetti westerns. In fact, it has nothing to do with being a good movie. Also Read – Kabhi Eid Kabhi Diwali: After Venkatesh And Pooja Hegde, Salman Khan Casts This Southern Actor For His Movie
So are you excited about what to watch this weekend or what to watch this week and wondering if Thar is worth it? Scroll down for my full Thar movie review… Also read: Shah Rukh Khan reveals one of the few things his wife Gauri Khan allows him to do at home
What is it about
Siddharth (Harshvardhan Kapoor) moves to a Rajasthani border town, where Inspector Surekha Singh (Anil Kapoor) has not faced a proper criminal case over the years. Suddenly, bodies start falling, drug smuggling ensues, and a gang from across the border makes his presence felt. But Surekha has to decide if this gang is related to Siddharth or not.
Check out Thar’s trailer below:
Everyone’s performance is great except Harshvardhan Kapoor, but to be honest, we’ve seen Anil Kapoor, Satish Kaushik, and even Fatima Sana Shaikh perform better as they struggle to get past that garbage script. in which they are trapped. Only Jitendra Joshi and Mukti Mohan get roles with some meat and get their teeth fixed. Narrative-wise, the gruesome violence without flow or texture and the ending in which Fatima’s character is rewarded offer any semblance of interest.
what is not
Long story short, Thar has interesting characters, but as a unit they don’t do anything to make the plot interesting or move forward. The story flows aimlessly for 3/4 of the movie, and at the end, when Siddhartha’s motivations are explained at the climax, it’s a huge disappointment and seems made to death, different in Hindi cinema. So much to go through, huh? There’s also a lot of torture porn involved, which would be nice if there was a strong reason behind it, or at least some plot juice to put the torture into perspective. Writer/director Raj Singh Chowdhary’s previous film, his Disney Hotstar debut Shaadisthan, was much better and told a pivotal story. It simply spins aimlessly along dull, rocky terrain.
Thar’s only problem on Netflix isn’t boring, as it’s plotted from scratch and weakly directed. These new age Bollywood filmmakers need to understand the difference between boring cinema and art cinema firstly and secondly they are hardly doing anything new as they think what they are doing apparently inspired by international filmmakers It has been done decades ago. by our own teachers of the past. I’m going with 1 out of 5 stars for the show and some genuine horror bits.
Review by: Russel D’Silva
Thar has been presented as an inspiration from spaghetti westerns like The Dollar trilogy, Once Upon a Time in the West, Day of Anger, Death Rides a Horse, The Five Man Army, The Mercenary, Django and other masterpieces of the western sub-genre about the American Wild West made popular in Italy. Thar has nothing remotely to do with this style and trope of filmmaking other than some remote allegiance with stark locales and grimy vistas. We’ve actually had spaghetti western inspirations in the past, known here as curry westerns, including classics like Sholay, Mera Gaon Mera Desh, Khote Sikkay, Loha, Anil Kapoor’s own Joshilaay with Sunny Deol and more. Netflix’s Thar has nothing to do with a spaghetti western. In fact, it has nothing to do with being a good movie per se.
So, are you excited about what to watch this weekend or what to watch this week and wondering whether Thar is worth your time? Scroll down for my full Thar movie review…
What’s it about
Siddharth (Harshvardhan Kapoor) drifts into a Rajasthani border town, where Inspector Surekha Singh (Anil Kapoor) hasn’t had to deal with a proper criminal case in years. Suddenly bodies start dropping, drugs are being traded and a gang from across the border makes its presence felt. But Surekha needs to decided whether this gang is linked to Siddharth or not.
Watch the Thar trailer below:
Everyone’s performances, excluding that of Harshvardhan Kapoor is top notch, but frankly speaking, we’ve seen Anil Kapoor, Satish Kaushik and even Fatima Sana Shaikh deliver far better as they struggle to rise above the junk script they’re trapped in. Only Jitendra Joshi and Mukti Mohan get roles with some meat and they sink their teeth right in. Coming to the narrative, the gruesome violence albeit without any flow or texture and the final denouement where Fatima’s character is finally rewarded offer any semblance of interest.
To cut a long story short, Thar has interesting characters, but they do nothing as a unit to make the plot interesting or even take it forward. The narrative drifts aimlessly for 3/4ths of the film, and finally, when Siddharth’s motivations are explained in the climax, it’s a huge letdown and looks done to death – so much for being different in Hindi cinema, eh? There’s also a lot of torture porn involved, which’d be fine if there’d be a strong reason behind it, or at least some juice in the plot to put the torture into perspective. Writer-Director Raj Singh Chaudhary’s earlier film, his debut feature, Shaadisthan, on Disney Hotstar, was far better and told a decisive story. This one just meanders without focus along a drab and rocky terrain.
Being boring isn’t the only problem of Thar on Netflix as it’s just scratchily plotted and weakly directed. These new-age Bollywood filmmakers need to first and foremost understand the difference between dull filmmaking and art filmmaking, and secondly that they’re hardly reinventing anything as what they think they’re doing, obviously motivated by international filmmakers, has been done decades ago by our own past masters. I’m going with 1 out of 5 stars for the spectacle and some bits of genuine horror.