Anurag Kashyap – Rigobertha Reviews

September 12, 2025September 12, 2025

Bad Girl: A wonderful coming of age tale through female lens

Director Varsha Bharath does a fine job in etching the tumultuous journey of Anjali Sivaraman’s Ramya. Her yearning for liberation and eventually finding peace is relatable for numerous millennial women. Mention must also be made of the female friendships. It gives the movie some of its best moments

Starcast: Anjali Sivaraman, Shantipriya, Saranya Ravichandran and others

Genre: Coming of age

Director and writer: Varsha Bharath

Producers: Vetrimaaran and Anurag Kashyap

Production Company: Grass Root Film Company

Cinematography: Preetha Jayaraman, Jagadeesh Ravi and Prince Anderson

Music: Amit Trivedi

Running time: 1 hour and 55 minutes

Most coming of age stories in cinema revolve around young men dealing with societal expectations and thorny relationships with their fathers. A coming-of-age tale through a female lens isn’t a common thing. Varsha Bharath’s Bad Girl is a refreshing and much needed tale through female lens.

As the title suggests Bad Girl focuses on the journey of a young woman going through many turbulent life scenarios. She does numerous things defying the general social norms. The title here isn’t the case of a moral judgment being passed. It’s more of a reflection on how traditional culture perceives a woman attempts to find her autonomy. The viewers see this through the journey of Anjali Sivaram’s Ramya.

A strong aspect of Bad Girl is how Varsha Bharath has etched Ramya. More than a plot driven story Bad Girl feels like a series of episodes and a character study. Varsha Bharath does a very fine job in showcasing the journey starting from teenage life. When we first meet Ramya, she is forever imagining a fairy tale with thoughts of romance and sex. Ramya feels that she has found it in her classmate Nalan (Hridhu Haroon). Through Nokia Phones and dialed up internet connection they have a series of secret conversations which Ramaya’s orthodox family has no idea about.

These portions have a dream like visuals. The cinematography by Preetha Jayaram, Jagadeesh Ravi and Prince Andreson is simply fantastic to say the least. They bring to life Ramaya’s state of mind. Of course, Ramya’s fairytale comes to an end when caught red handed. The mother played by an excellent Shanti Priya isn’t happy about her daughter’s actions laying the base for the thorny mother and daughter relationship.

The process of Ramya making one bad decision after another in her attempts of finding liberation. While also questioning the traditional thoughts of her parents has been wonderfully written and enacted. There are scenes where Ramya is seen reflecting on her actions as she grows older. Through this Varsha Bharath talks about what it feels like to be a contemporary young woman who is judged on something or other.

Mention must also be made of the how the films deals with the generational differences. Shantipriya’s Sundari doesn’t understand the ways of her daughter’s lifestyle. She is constantly worried about who is going to look after her daughter. There are numerous moments of friction. At the same time love is there too. There is a wonderful pre climax moment after Sundari’s retirement as a teacher. Ramya wants to hug her mom and express love. After a lot of deliberation Ramya does it, the reason being a huge showdown which had taken place previously.

Through the role of Sundari Varsha Bharath also looks at patriarchy. Sundri is a working woman with a well-paying job. She fits the traditional standards of the society but still there is no getting away from the patriarchy.

Lastly Bad Girl also deserves appreciation for how it celebrates female friendships. Saranya Ravichandran as Ramya’s confidante specially deserves a mention. The female bond explored through her and Anjali Shivaraman gives the movie some of its best moments.

Apart from the already mentioned cinematography department Amit Trivedi’s music also needs to be talked about. His soundtrack perfectly captures the tumultuous journey of Ramya. The production design also stands out more so in the portions of Ramya’s formative years.

Performances wise the film belongs to Anjali Shivaraman and Shantipriya. Anjali Shivaraman effortlessly portrays the multifaceted journey of Ramya. Whether it’s the innocence of college days or the simmering frustration of college years and eventually making peace. Shantipriya is also compelling bringing out both the motherly concern and a quiet inner strength.

Final word: Bad Girl is an important watch for how it tackles coming of age through female lens.

June 10, 2025June 12, 2025

Stolen: A taut social thriller

Abhishek Banerjee in Stolen

Inspired from a true incident director Karan Tejpal presents a largely gripping and harrowing tale of the huge divide between the privileged and the poor. Stree and Vedaa actor Abhishek Banerjee once again proves his chameleon like ability in adapting to different roles, he knocks it out of the park as usual.

Starcast: Abhishek Banerjee, Shubham Vardan, Mia Mazeler and others

Genre: Thriller

Director: Karan Tejpal

Writer and producer: Gaurav Dhingra

Executive Producers: Kiran Rao, Anurag Kashyap and Vikramaditya Motwane

Production house: Jungle Book Studio

Running time: 1 hour and 55 minutes

Cinematography: Ishaan Ghosh

Streaming site: Amazon Prime

In structure Karan Tejpal’s Stolen shares more than one similarity with Navadeep Singh’s NH10. Just like that movie here too the urbane characters find themselves in a huge tangle, a world far removed from their comfortable lives. The two protagonists become the medium to explore a world which is far away from high rise buildings and the glittery urbane space. However Karan Tejpal gives Stolen its own distinct identity through two brothers who are as different as chalk and cheese. In spite of some rough edges Stolen for most part is largely engrossing drawing the viewers in.

Stolen begins at a small town railway station in Rajasthan. Gautam (Abhishek Banerjee) is waiting for his younger brother Raman (Shubam Vardan). Raman is coming in a train since he missed the flight. Next day there is an important family event, Gautam is desperate to return back home. However things don’t go according to plan and the reason for this is Jhumpa (Mia Mazeler). Jhumpa’s daughter is missing and Raman is briefly suspected by the police. Raman is cleared of the charges but the police ask the brothers to wait leading to several things. This is the story in brief.

A strong aspect of Stolen is the cinematography of Ishaan Ghosh. Ishaan Ghosh is very successful in capturing the gritty tone, the visuals have a lived in feel with the rusty atmospherics. Through his lens he presents an India that we don’t see in big budget mainstream movies. A major divide between the privileged and oppressed, a deep cynicism and an agony of those who aren’t blessed with the safety net. Ishaan Ghosh’s work also stands out in the tense chase sequences. Sure at times they do get repetitive still he does a first rate job in capturing the dreadful scenarios which both the brothers find themselves in.

Mention must also be made of the sibling dynamics. Abhishek Banerjee’s Gautam is the more corporate guy among the two trying to dissuade his brother from helping Jhumpa. Shubham Vardan’s Raman is the more considerate guy leading to an interesting clash of ideologies. At one point the contrast may across as too jarring but Karan Tejpal along with Gaurav Dhingra give a slight insight into why Raman connects with Jhumpa. In spite of different view points there is an undercurrent of love and affection too. The sibling dynamics makes the movie stand out from NH 1O also set in the same space.

Abhishek Banerjee and Shubham Vardan

Stolen is stuffed with numerous social issues like illegal surrogacy and the absolute lack of law and order. However at no point Stolen feels preachy, this is because of the thriller format. As viewers you are constantly tensed about what would be the fate of the three protagonists. It also helps that the movie has no unnecessary detours, no comic or romantic angle to slow down the proceedings.

Stolen also benefits immensely from its lead actors. Abhishek Banerjee shows a masterclass in acting. The way he portrays the different shades of Gautam effortlessly showcasing the eventual transformation is a sheer delight to watch. With this movie he once proves his capability in adapting to different roles. Shubham Vardan as Raman also lends solid support proving to be a perfect foil for Abhishek Banerjee, both the actors feed of each other wonderfully. As Jhumpa Mia Maezeler is very effective too bringing in a raw intensity without going melodramatic.

Mia Maezeler as Jhumpa

Although tight for most part Stolen does suffer from a couple of mishaps. One of them is a slightly repetitive nature of the brothers being chased. Also towards the end the movie does stray somewhat, a tighter edit in some portions would have definitely helped.

Final word: Stolen is a must watch for those seeking stories beyond entertainment.

February 27, 2025February 28, 2025

The many faces of Vicky Kaushal: A look at his iconic roles

An overview into Vicky Kaushal’s versatile filmography and what makes him a fantastic actor and also a potential superstar.

Starting from his critically acclaimed debut in the very moving Masaan (2015) Vicky Kaushal has done a wide plethora of roles whether it is characters based on history or more contemporary roles.

Son of the well-known action director Shyam Kaushal, Vicky, before making his debut with Masaan, worked as an assistant director on the movie Gangs of Wasseypur (2012).

In fact, Masaan— Neeraj Ghaywan’s directorial— was co-produced by Anurag Kashyap and Vikramaditya Motwane under the banner Phantom Films.

Masaan saw Vicky in the role of a bright student from a marginalized caste. His character Deepak works in the cremation Ghats of the place Varanasi; it isn’t something he likes doing but Deepak has no other option. Vicky made a splendid debut, particularly in the portion where he expresses the centuries of discrimination that the marginalised caste people have been subjected to.

Before tasting huge commercial success with the action drama Uri in 2019, Vicky had a very good 2018 with first-rate performances in Raazi, Sanju and Manmarziyaan.

Playing to the strengths

Vicky Kaushal in Raazi — Vicky Kaushal in ‘Raazi’. (X)

In Raazi, Vicky played a Pakistani soldier contrary to the usual stereotypes. In terms of screen time, Vicky’s role was more of a supporting one, but the actor made his presence amply felt. Vicky has an endearing persona, particularly in the scenes where he romances Alia Bhatt’s Sehmat.

There is a visible sensitivity in the way he treats her. His character Iqbal was written as a sensitive soul and Vicky with his acting made the viewers feel for Iqbal.

A major strength of Vicky is this endearing quality both on and off-screen. He comes across as a very loving person, which explains the female fan following.

Another standout strength of Vicky as an actor is his physicality. To portray a warrior king in Chhaava, having a strong build is crucial; the audience must feel that the hero has the power to cut through countless enemies and become a real threat to the antagonist. Vicky naturally fits this role with his tall stature and solid presence, making him the perfect fit for such characters.

Following are some of Vicky Kaushal’s best performances over the years. This ranges from intense to slightly more comedic parts.

Chhaava

Laxman Utekar’s Chhaava has stirred up significant attention for various reasons. While the film has been lauded for its strong performances and its grand cinematic appeal, it has also faced criticism over the accuracy of its historical events.

Regardless of these debates, one thing is undeniable: Vicky’s dedication in embodying the courageous Maratha warrior on screen. He fully embodies the fierce king, presenting a character who is a true menace to Akshay Khanna’s portrayal of Aurangzeb. Beyond his physical transformation, Vicky masterfully conveys the emotional and psychological toll of being a warrior.

Beneath his warrior exterior, there’s a profound vulnerability—whether it’s the longing for his mother’s affection or the haunting nightmares involving his father. In Chhaava, Vicky’s tenderness shines through in the romantic moments with Rashmika Mandanna.

His tender moments, like calling her “Shri Sakhi” and adoring her with such genuine affection, enrich the character, giving it a rare emotional depth.

These layers of complexity add depth to the role, and Vicky Kaushal’s performance brings them to life brilliantly.

Sardar Udham Singh

In Shoojit Sircar’s nuanced biopic of the Punjabi revolutionary Sardar Udham Singh, Vicky Kaushal delivered a stellar performance, conveying the inner rage of a freedom fighter with nothing but his eyes.

Vicky skillfully portrayed the many emotions of Sardar Udham through subtle changes in his body language.

A special mention must be made of his performance during the Jallianwala Bagh sequence. Vicky’s portrayal of Sardar Udham’s anguish gives the audience goosebumps. He truly brought to life the various stages of Udham Singh’s journey.

Sam Bahadur

Meghana Gulzar’s biopic on the dynamic Sam Manekshaw may follow a predictable path, often playing out like a highlight reel, but Vicky Kaushal’s charismatic performance makes the movie worth watching.

He perfectly embodied the fearless attitude and dynamism of Sam Manekshaw.

There’s a Dev Anand-like demeanour to his portrayal, and Vicky was simply superb. He also excelled in the vulnerable moments shared with his wife, played by Sanya Malhotra.

Sanju

Although Ranbir is the main pivot of this Rajkumar Hirani directorial, Vicky Kaushal as Sanju’s best friend Kamlesh was also equally good.

In the initial portions, he brings in a lot of laughs but as the movie progresses, he also provides solid emotional depth.

He is exceptional, particularly in the scene where he encourages Sanju to not succumb to difficult circumstances and reminds him of how his father is facing an equally big battle.

In fact, Vicky Kaushal can be called the second lead of Sanju.

Bad Newz

The best way to describe Anand Tiwari’s Bad Newz is as a showreel of Vicky Kaushal. Apart from his nimble dance moves in “Tauba Tauba,” Vicky was fantastic as a typical happy-go-lucky Punjabi boy undergoing a transformation.

Vicky Kaushal played a major role in lifting the movie’s energy whenever the proceedings started to slow down.

Not only did Vicky bring the house down with his impeccable comic timing, but he also excelled in the emotional scenes. For instance, there’s a moment when his character, Akhil Chaddha, has a breakdown during introspection, and another scene where Vicky reflects on the loss of his late father. In both of these moments, Vicky showcased his versatility and all-around capability.

This is all about Vicky Kaushal’s current filmography. His ability in seamlessly jumping genres is what makes him a potential superstar.

Here’s hoping that Vicky Kaushal continues to entertain the audiences with different roles and genres.

(Edited by Sumavarsha)

https://thesouthfirst.com/entertainment/the-many-faces-of-vicky-kaushal-a-look-at-his-iconic-roles/

July 15, 2024September 15, 2024

Maharaja: Vijay Sethupathi and the non-liner storytelling elevate a standard revenge story.

The movie also deserves appreciation in how it portrays a rape survivor who wants to confront her attacker telling him in clear terms on how she isn’t going to live in shame.

Starcast: Vijay Sethupathi, Anurag Kashyap, Sachana Namidass, Natarajan “Natty” Subramaniam and others
Director and writer: Nithilan Swaminathan
Producers: Jagadish Palaniswamy and Sudhan Sundaram
Production Companies: Passion Studios etc.
Cinematography: Dinesh Purushothaman
Streaming site: Netflix

Some movies are elevated through a gripping screenplay more than the plot. Nithilan Swaminathan’s Maharaja is a very good example of this. On the surface it is about a father who wants to catch the perpetrators who have caused mayhem in his simple life, what makes the movie engaging though in spite of the gruesome violence is the back-and-forth narrative along with the intricate setting that throws in a lot of clues making the viewers think.

Contrary to the title Vijay Sethupathi’s Maharaja is no king nor is he some business magnate. He works in a saloon. The life of this Maharaja revolves primarily around two things. One is his work, and the other is the daughter Jyothi (Sachana Namidass). Jyothi is a spirited teenager with dreams of being an athlete. It may sound bizarre but both of them worship a dustbin by the name of Lakshmi. We are told that this dustbin had saved Jyothi’s life. In an outlandish turn of events Maharaja goes to the station to file a case about a missing dustbin. The cops take him for a crazy guy and try to throw him out of the station, but Maharaja doesn’t budge constantly saying that he wants the dustbin back. Eventually the police agree to look into the case as Maharaja offers a huge amount of the money. What starts off as a simple case unravels many secrets leading to many twists and turns.

A strong aspect of Maharaja are the police station scenes where Vijay Sethupathi pleads to the cops about the missing dustbin. Yes, the scenarios may appear ridiculous but the earnestness with which Vijay Sethupathi repeats the story is amusing and moving at the same time. Although the viewers are laughing there is an undercurrent of tension too.

Vijay Sethupathi Maharaja talking about the missing dustbin

While the investigation is going on Nithilan Swaminathan introduces the viewers to another important character played by filmmaker and actor Anurag Kashyap. Anurag Kashyap is also a common man called Selvam. Selvam is a loving father to his daughter Ammu but there is a dark side to his life unknown to the wife. Initially the viewers wonder how this man is connected to Maharaj’s life but the director has connected the dots expertly. The police characters lead by Natarajan “Natty” Subramaniam have also been written fairly well. They start off as a bunch of opportunistic cops but end up developing a conscience towards the movie’s end.

Anurag Kashyap as the other father who has secrets of his own

It goes without saying that Vijay Sethupathi is the backbone of Maharaja. In the police station scenes, he leaves you in splits, at the same time his portrayal of a desperate father touches an emotional chord. Anurag Kashyap’s lip sync does take some time getting used to, but he brings in the required menace, at the same time there is a major reveal related to his character in the climax, this humanizes Selvam and Anurag’s breakdown deserves distinction marks. Among the rest Sachana Namidass shines in one intense confrontation scene.

Some portions of Maharaja though could have done with better writing. Case in point Mamata Mohandas as the PTI teacher Aasifa. She is a mother-like figure to Jyoti. The bond needed more impactful scenes for the viewers to feel the motherly love of Aasifa, another problem with the movie are the gruesome scenes of violence involving the women. Particularly bothersome is a scene meant to establish the villainy of Selvam and co. The close-up shots make it nauseating.

June 4, 2024June 6, 2024

A rundown of the best political films made in Bollywood

An overview into how Hindi Cinema used to make good political films that had coherence and didn’t pander to the ruling party

The state of the recent political movies in Bollywood cuts a very sorry figure. Movies like the Accidental Prime Minister and PM Narendra Modi are woeful products in more ways than one. Yes they are incoherently staged both in terms of acting and storytelling, but apart from these aspects the movies have been used as tools for negative political propaganda. In the case of The Accidental Prime Minister it was clearly made to malign the former Prime Minister of India Manmohan Singh along with the entire Congress party. PM Narendra Modi on the other hand was meant to absolve Modi from all crimes and put him on a pedestal.

On the other hand both Kashmir Files and the Kerala Story are hugely islamophobic in nature. There is no denying the sufferings of the Kashmiri pundits but director Vivek Agnihotri presented a rather one sided pictures with all the Hindus being sufferers and Muslims being monsters. The Kerala Story on the other hand hugely exaggerated story of Hindu women being radicalized by the ISIS. Much like Kashmir Files here too you won’t find any positive Muslim character. This hate against Muslims represents the attitude of the BJP government. The success of both these movies is a byproduct of the times we live in.

Then there are the likes of Uri: The Surgical Strike, Tejas and this year’s Fighter. Uri: The Surgical strike was a highly dramatized account of Indian army retaliating to the URI Attacks. The movie was clearly meant to establish that the surgical strike had taken place in real. Not surprisingly the BJP party used the movie as a tool of propaganda particularly the dialogue “How’s the josh”. Hrithik Roshan’s Fighter was on the other hand was inspired by the Balakot strike. The climax of Fighter is straight out of a single screen universe with patriotic dialogues and ample dose of jingoism.

This year the team of The Kerala Story returned with Bastar: The Naxal Story which made a mockery of the Naxal movement, it didn’t find audiences even with those who like propaganda movies. Article 370 on the other hand directed by Aditya Suhas Jambhale did fairly well primarily due to the performances of the two leading ladies Yami Gautam and Priya Mani. However the characterizations of the Kashmiri locals which include the politicians was highly laughable. The director made it look like only Prime Minister Modi and BJP are concerned about the welfare of Kashmiri population.

Not surprisingly Narendra Modi mentioned about the movie urging the viewers to watch it a few before the movie’s release. Even you look at Kashmir Files the party workers played a significant role in promoting the movie. But it has to be said that political movies in Bollywood has not always been like this and following is an overview into some of the well crafted political ones.

Rang De Basanti directed by Rakesh Om Prakash Mehra was about the corruption in the defense department that leads to the death of a pilot played by R Madhavan. The movie did not shy away from showing the deep rooted corruption and the cynical attitude of the youth who believe that no good change can come.

What also added to the impact of Rang De Basanti was the way it intertwined the sacrifices made by our revolutionaries Bhagat Singh and Chandrasekhar Azad among others and today’s youth who think thoughts of revolution and sacrificing for the country is an outdated thought. The gradual change in the protagonists played by Aamir Khan, Siddarth, Kunal Kapoor, Sharman Joshi etc was wonderfully written and directed.

Prakash Jha is someone who is well known for directing movies that have an undercurrent of socio political aspects. For example his 2010 film Rajneeti was modeled on the epic Mahabharata while looking at the dark underbelly of the political scenario in our country. Through the huge ensemble of actors Director Prakash Jha cooked a gripping cocktail of complex relationships, an uncontrollable lust for power and rivalry of the siblings among other things.

A major highlight of Rajneeti was the strong characterizations of all the actors. For example Ranbir Kapoor’s character Samar starts off as a young man leading a quiet life in the US. But getting sucked into the family politics brings out the monster in him. There is a hugely poignant scene towards the end where Samar decides that he has had enough and politics is not for him. Apart from the strong characterizations Rajneeti also had some powerful scenes showcasing the political circus that takes place when candidates meet ordinary people.

Aarakshan on the other hand directed by the same man took up with the burning topic of reservation, special benefits being given to people belonging to a particular caste. There are some powerful scenes in Aarakshan particularly the first half which depicts the class and caste conflict. Case in point being Pratik Babbar and Saif Ali Khan’s characters expressing their contrasting views about reservation, Pratik’s Sushant is a typical rich brat who thinks that Dalits should not be given any special privileges and are afraid of working hard.

Tamil Director S. Shankar is well known for making movies featuring vigilante protagonists. Through his protagonists the director has covered issues that are important to the common man. S. Shankar’s Nayak: The Real hero is the remake of his own Tamil movie Mudhalvan. Unlike the vigilante protagonists of his previous movies who have an inbuilt social consciousness Anil Kapoor’s Shivaji Rao Gaekwad is more of a reluctant hero who wants to lead to peaceful life. Shivaji starts off as a cameraman in a popular television channel; from there he eventually becomes a reporter. One day his life takes a dramatic turn while interviewing the chief Minister of Maharashtra, Shivaji questions the chief minister on certain things like choosing to not control a violent riot that causes a lot of damage. In a very filmy turn of events Shivaji ends up being the Chief Minister of Maharashtra for a day and does a lot of good, eventually he replaces Amrish Puri’s Balraj Chauhan.

Of course there is nothing subtle in the way Shankar goes about depicting the issues plaguing the society. Every point feels hammered in but at the same time there is no denying the relevancy of what Shankar addresses. There are scenes in the movie that mirror the real life corruption that we read about everyday from grassroot to national level. Through the character of Amrish Puri director Shankar also explored the harmful affects of vote bank politics and appeasing a certain community to just win the elections.

Nayak: The Hero is a movie that has aged well. Sure it was not a hit movie at the time of its release but over the years it has made a certain place in the viewer’s hearts.

Anurag Kashyap’s Gulaal is also a noteworthy political movie. The plot of Gulaal is set in Rajasthan focusing on the community of the former royalty who want to restore both the Rajputana province and the kingship.

The central protagonist of this tale is Dilip Singh (Raj Singh Chaudhary), Dilip Singh starts off as an unconfident guy but soon gets involved in local politics after the death of his roommate cum friend Rananjay Singh (Abhimanyu Singh). Rananjay Singh was contesting in college elections, a local commander Dukey Bana (Kay Kay Menon) insists Dilip to contest in place of his slain roommate and he makes sure that Dilip does win on the behalf of the Rajputana party. Running side by side are multiple subplots.

Anurag Kashyap’s depiction of student politics and the violence is hard to stomach; nevertheless the movie makes a strong impact. Gulaal also works as a critique of some movements that talk about how a particular community or a region is superior to the rest.

Sometimes the movie also plays out like a Shakespearean tragedy combing elements of jealousy, greed and corruption. At other times you have the Quentin Tarantino touch in the staging of the scenes that show the lawlessness.

Here’s hoping that Bollywood gets back to making solid political movies. The current trend of propaganda political movies have reached a saturation point which is evident in the lackluster response of the recent ones.

May 8, 2022December 12, 2024

Thar: Watch It For The Atmospherics And Anil Kapoor

Raj Singh Chowdary’s Thar is a well staged thriller which had the potential of being more. Much like Koratala Siva’s Acharya here too you have the real life father and son duo playing important roles. Thar is technically sound and also benefits immensely from Anil Kapoor’s screen presence but unfortunately the same cannot be said about son Harshvardhan Kapoor.

The story of Thar takes place in the eighties. A series of violent killings are happening in a remote desert town in Rajasthan. Anil Kapoor plays the local cop Surekha Singh. Surekha Singh is given the responsibility of nabbing the killers. Satish Kaushik plays a subordinate cum friend. His character comes from the lower caste.

At this juncture a stranger called Siddarth (Harshvardhan Kapoor) enters the town. He has a certain stoic presence with an aura of mystery around him. He gets involved with a married woman played by Fatima Sana Sheikh. Nothing more can be said about the plot since this is a thriller.

Director Raj Singh Chowdary wastes no time in setting up the plot. The scenes between Anil Kapoor and Satish Kaushik in particular are good to watch. The actors bring in their real life camaraderie to the table.

Anurag Kshyap is the dialogue writer of this one and the stamp of Anurag can be seen at several junctures, particularly the ones related to caste.

Another department that deserves a mention here is the production design and the cinematography. Both Wasiq Khan and Shreya Dev Dube are successful in capturing the rugged terrain of the place. There is a lived in feel with no sense of artificiality.

Not surprisingly Anil Kapoor towers over many of the cast members. It is a combination of Anil’s acting caliber and also the way the other characters have been written. He commands your attention from the word go. Satish Kaushik is the only other actor in the cast who makes an impression.

The one major drawback of Thar is how the character of Harshvardhan Kapoor has been written. In an attempt to create an aura of mystery the director forgets giving some emotional heft. The inadequacies also show up in Harshdvardhan’s performance. There is no denying that Harshvardhan has been making some brave choices like Vikramaditya Motwane’s Bhavesh Joshi. But he had to realize just making interesting choices isn’t enough.

Another issue with Thar is the forced romantic sub plot between Harshvardhan and Fatima Sana Sheikh. It adds nothing to the story. In fact it slows down the pace of the film considerably which is anyway moving at a sluggish space.

Lastly, the elements of dacoits, drug trafficking etc haven’t been properly explored by the director.

In a nutshell Raj Singh Chowdary shows promise, what he needs is a more fleshed out script.