'Thamma' is a Hindi-language romantic horror-comedy film, directed by Aditya Sarpotdar (of Munjya fame) and starring Ayushmann Khurrana and Rashmika Mandanna. It serves as the latest installment in the popular Maddock Horror Comedy Universe (MHCU). The film has received a mixed-to-positive reception, with praise for its technical aspects and universe-building, but criticism directed at the pacing and the villain.
Quick Verdict
The film is a visually sharp and well-packaged entertainer that successfully expands the MHCU by introducing the lore of the 'Betaal' (Indian folklore vampires). While the first half is slow, the second half delivers the thrills and action required for a big-screen Diwali release. It is a definite watch for fans of the franchise and the lead actors.
Plot and Concept
The story revolves around Alok Goyal (Ayushmann Khurrana), a meek journalist who ventures into a forest and encounters Tadaka (Rashmika Mandanna), a mysterious, immortal Betaal. Unlike typical vampires, this clan of Betaals lives under a strict code, forbidding them from drinking human blood after witnessing the horrors of the 1947 Partition. A twist of fate forces Tadaka to turn Alok into a Betaal to save his life, setting them on a collision course with the ancient, bloodthirsty Betaal leader, Yakshasan (Nawazuddin Siddiqui).
The film's strength lies in its unique folklore-meets-modern-era concept.
Performance Analysis:
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Ayushmann Khurrana: Ayushmann delivers a sincere performance, effectively balancing the comic timing of the awkward journalist in the first half and the action/intensity of the Betaal in the second. His emotional range anchors the core love story.
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Rashmika Mandanna: She is praised for her fierce and dedicated portrayal of Tadaka, often serving as the true anchor of the film's action and emotional conflict. However, some critics found her casting and look too urbanized for a forest-dwelling creature.
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Nawazuddin Siddiqui: As the main antagonist, Yakshasan, his performance is often described as over-the-top and underutilized. The character, despite being built up as a formidable foe, lacks the menace and depth seen in previous MHCU villains.
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Paresh Rawal: He provides much-needed comic relief as Alok’s suspicious father, with his trademark witty one-liners landing successfully.
Technical Aspects and Direction
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Direction (Aditya Sarpotdar): Sarpotdar manages to build a fresh, visually captivating world of Betaals, continuing his successful run after Munjya. He focuses heavily on VFX and scale.
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Visuals and VFX: This is a major highlight. The Visual Effects and grand set pieces—especially the Betaal vs. Bhediya fight sequence—are of high quality, giving the film a Hollywood fantasy feel.
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Pacing and Screenplay: The main weakness is the sluggish first half, which takes too long to establish the romance and the core conflict. The narrative only truly kicks into high gear after the interval when the horror-action elements take over.
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Music: The score by Sachin-Jigar is catchy, with songs like 'Tum Mere Na Huye' and 'Poison Baby' being popular. However, the insertion of multiple item numbers (Malaika Arora, Nora Fatehi) slows the narrative flow.
Expanding the Maddock Universe:
The film successfully ties itself to the larger MHCU:
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Bhediya Cameo: Varun Dhawan reprises his role as Bhediya (Bhaskar) in a surprise appearance that leads to a thrilling confrontation and sets up future installments like 'Bhediya 2'.
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Jana's Return: Abhishek Banerjee also appears as Jana, further linking the film's events to the ongoing conflict within the universe.
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Future Tease: The climax hints at new threats and potential sequels, keeping the franchise alive and kicking.
Overall, 'Thamma' is an ambitious attempt to weave Indian mythology with a contemporary horror-comedy framework. While the romantic subplot dominates the early part and the script could have been tighter, it is ultimately a visceral and entertaining cinematic experience that relies on high-quality visuals and the successful expansion of the horror universe. Watch it for the action, the visual scale, and the engaging second half.
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