After penning such films like ‘Salt’N Pepper’, much was expected from Dileesh Nair, especially for his first film in ‘Tamar Padaar’. With a daringly different title and promos, the movie offered a satirical blast, but the screenwriter –turned director seems to have run out of stuff for his debut film. Here is a film which forgets the basics of narrating a commercial fare, which in its own loads of experimentation fails to converge as one movie that can engaging all through.
The first half has the audience go through the interesting, unconventional lives of Jumper Thambi (Baburaj) and Tubelight Mani (Chemban Vinodh) who are into street circus. The former is circus stuntman who can curve iron rods with his neck. He by no means misses an opportunity to display his stunts in any public gathering, which also helps him earn a living. Mani is also a street performer who breaks tube lights on this body to enchant public. Both are sent to jail for crimes they never have done. While Thampi in accused for killing a leopard, Mani is arrested for being involved with a prostitute Valsamma , played by Srinda, to whom Mani has a liking. Incidentally Mani and Thambi meet up later and become buddies.
They decide to attempt a circus stunt never tried before in front of the state secretariat which they fail to accomplish. But in the due process they lands up in jail as most-wanted terrorists due to mistaken identity. Prithviraj, appears as ACP Pouran, a committed and righteous police officer who has an unending thirst to be the exemplary citizen and live true to his name, put affectionately by his father who was also a policeman. On joining duty, he wanted to make a mark in his career by solving some difficult unsolved police case starting from that of infamous Sukumara kurup to Abhaya, but with little success . Pauran habitually gets teased for his attempts while trying to wipe out crimes of the country, and the case of the two street fighters is one such. How does he correct his own mistakes that may take the lives of Thampi and Mani is the rest of the story.
The background narration by Adv Jayashankar is what takes the cake in the movie. Often it is rightly pitched and written with flair but also gives a documentary frame for the entire narrative. Prithviraj’s Trivandrum accent deserves a few laughs, though the reason for this slang development from a neutral slanged parents is not described. Dileesh Nair’s direction is uneven. He has managed the best out of his technical crew with fine images and frames and performances, but the long and unwarranted first half which is dedicated to Baburaj and Chemban should have been crisper which even makes the audience wonder whether they are watching the right movie. At the same time, the second half is jammed with information, which but needed a little more elaboration. The director seems to be in a haste to wrap up proceedings, and lacks a convincing finale. The Music and background score by Bijibal is good. All the songs in the movie have interesting lyrics and music, especially the “thaadi song” which glorifies different kinds of beards is remarkable.
In the acting front Prithviraj looks hot as ever, but doesn’t have much to do. The absence of a heroine for Prithviraj is never felt. Baburaj and Vinod have the best of the roles in their recent career. Shrinda is also fine in her role while the rest in the cast play to the demands of their roles.
In the final analysis, in their attempt to create a ‘ Great Indian Circus" Dileesh Nair and crew goes for a circus in the narrative lines, which fails them to a larger extent. ‘Tamar Padar’ definitely have its share of fine one-liners and sequences that work, but the movie could have fared much better, if it had gone for another approach in its narratives styles. Yes, the story telling is the downer here, which lacks the punch of its title.
Rating -5.75/10
