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 based on the life of cowboys, which are called “Westerns”, 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 a film is made on that background then it is considered as Neo Western. Cowboy or western films depicted a white man on horseback, carrying a gun and revolver, wearing a big hat and high-ankle boots, arriving in a Mexican or South American town. He used to loot and fight with the Bahubali of the village for supremacy and in the end he used to kill everyone and pick up the village girl and take him with him.

The story of a village remains almost the same in our country as well, and a foreigner braveheart used to come and protect the village against the landlords. If we remember properly, India’s most successful film Sholay was also a western style film. In this episode, China Gate, Mera Gaon Mera Desh, Khote Sicke, Yatim, Bantwara, Ghulami and many other similar films have been made. Most of the films of this genre in India have been made on the background of Rajasthan or some films have been set in the rugged Chambal or in the villages of Uttar Pradesh. Desert, poverty and landlord-king-maharaja are still found in Rajasthan, so films of this style can still be made.

After a long time, a film named ‘Thar’ has recently been released on Netflix, which is an Indian film of Neo-Western genre. A village on the India-Pakistan border in the Thar desert region of Rajasthan, with sparsely built mud houses, a police station, a bus stand and a dhaba, and Inspector Surekha, who has been working as the station’s police station 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 and work as laborers. One day a city babu Siddharth (Harshvardhan Kapoor) arrives, takes some men to work in the city and strikes up a relationship with one of them’s wife (Fatima Sana Shaikh).

As the dust of the desert rises, it is revealed that this urban babu is torturing and killing these people by hanging them in the fort. The police follow, but opium smugglers come in the middle and shoot the policemen. Anil Kapoor somehow manages to reach the fort. Harshvardhan then absconds from the village with Talak Fatima and stays in the same fort. Anil asks Harshvardhan to surrender, but Harshvardhan, who has committed three murders, is shot by Fatima for killing her husband. The reason for killing Harshvardhan is shown in the flashback.

There is a story of revenge and the reality of murder in return for rape. Nothing is new but the most dreaded thing in this film is its camera. Shreya Dev Dubey has shot the scenes of torture in a very gruesome manner, from the flying dust of the desert to the dark fort. Not from Harshavardhan, but seeing the torture happening, I automatically feel scared. Even a corpse of a dead buffalo (it didn’t look Indian) in a corner of the remote desert creates a strange atmosphere. In savagery, when a hungry rat is kept in a bucket and the bucket is tied to the chest, or ears are cut off with a sharp dagger, the chest is ripped open with an axe, then there is fear, not jealousy.

Ajay Jayanti’s music is also a partner to create more sinister atmosphere in every scene. Budding musician Ajay has created a haunting atmosphere of Masan with the help of violin. There are a lot of expectations from Ajay in the coming times. Anil Kapoor’s work is strong. For 25 years in the same police station, that too in a desert police station located on the border, working as an inspector and bowing down to the ambition of his senior officer, Anil Kapoor has done a wonderful job. His tuning with his beloved subordinate Bhure (Satish Kaushik), loving rebuke from his wife, is wonderful. Harshvardhan is not even close to his father.

The emotion that creates fear in their eyes has not yet taken birth. Harsh Vardhan, 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 afraid 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 role of a city man. He should have waited more for this role. The role of Fatima Sana Shaikh is fine. His point of infertility has been used very beautifully and his shot in the climax is also very important.

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

Anurag had worked with Anil and Harshvardhan in the Netflix film AK Versus AK last year, so Anurag already had an idea of ​​their range. For editing, the very reliable Aarti Bajaj has been taken, who has edited almost all the films of Anurag, Imtiaz Ali, Tigmanshu Dhulia and Raj Kumar Gupta of his circle. That’s why the film is very tight despite the slow pace. If you are afraid of violence or do not want to see gruesome scenes on the screen, then do not travel to the desert of “Thar” but if Anurag Kashyap’s films make you feel sick, then let’s accept that Raj Singh Chaudhary is also the director of Jod and hence Thar Must see.

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Tags: Anil kapoor, Harshvardhan Kapoor