Tamaar Padaar Malayalam Movie Review

Feature Film | U
At two hours and forty minutes, 'Tamaar Padaar' is a torture that bores you beyond your senses. Let beards grow, and let sleeping dogs lie. Peace!
Oct 3, 2014 By Veeyen

Dileesh Nair's directorial debut 'Tamaar Padaar' is a kite, the string of which has snapped long back. Caught in a gust of wind, it pointlessly floats hither and thither, with no sense of destination whatsoever.


The film starts off with Khalid Qureshi (Baburaj), a much dreaded terrorist paying a visit to a saloon in Mumbai, where he dozes off in the course of a maalish, and the unthinkable happens to him. The narrator tells us that the history of the beard is as old as man itself, and reminds us that several intellectuals and men of repute have maintained distinguishable beards during their lives.


South ward in Kerala, Jumper Thampi (Baburaj) has hit the streets, and tries hard to make both ends meet, by performing circus antics before a crowd. He has two kids and a wife, whom he visits once in a few months, and unfortunately ends up in jail after he manages to capture a leopard that has been wreaking havoc in a village.


Tube light Mani (Vinod Jose) has been living up his name, crushing tube lights against his chest and arms. His admiration towards a local goon (Shammi Thilakan) brings in unforeseen results as he gets caught in a gunfire between two rival gangs. He seeks refuge in a hotel room, and along with the room's inhabitant Valsamma (Srinda Ashab) gets arrested for immoral trafficking.


Further South in Trivandrum, Pauran IPS (Prithviraj) had been cooling his heels away in the Central Jail, where he has been transferred after an attempt to garner some publicity and fame had gone haywire. He sees the golden opportunity to bounce back to the limelight, when he comes across Jumper Thampi who has an uncanny resemblance to Khalid Qureshi.


Dileesh Nair's protagonists cross ways at the most unexpected of occasions and the tale that is crafted out of it sounds outrageously inane. Having placed the three of them together on a story plane, it must have taken quite a lot of debate to finally arrive at this one!


Improbabilities at times even sound interesting, provided they are wedged in at the right instances. But here, they are all haphazard, and it comes to a point where you wonder if the film makers are actually taking you for a ride.


Of the three tracks, the only one that holds a little bit of an interest is the one that features Mani and Valsamma and their hushed romance. Even when Mani lends a voice to it, by unexpectedly breaking into a song, it still has the life that the rest of the film seems to be missing from.


The last half an hour in particular, is a yawn that never seems to end, and when you almost expect the curtains to go down, off the film goes in a fresh direction. It takes an infinitely long while for Pauran to resolve the issue, and all the social satire that is attempted in the process, is simply lost on us.


I'm tremendously surprised to see Prithviraj in this flick, in a role that could have very well been done by any other actor. Though he looks dashing as the cop who speaks with a Trivandrum slang, he is totally out of place in this film. Baburaj and Vinod Jose are both good, while Srinda as Valsamma simply shines.


At two hours and forty minutes, 'Tamaar Padaar' is a torture that bores you beyond your senses. Let beards grow, and let sleeping dogs lie. Peace!


Veeyen

   

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