Spoilers ahead…
I wonder who coined the phrase “dishoom-dishoom.” It has to be an Indian, and it has to have come from watching Indian cinema. No other filmic tradition has featured, so consistently, the action sequences that produce this sound. It’s a great bit of onomatopoeia – close your eyes and say the phrase loud, with that faintly echoey effect, and you can imagine the hero’s fist sinking into the villain’s solar plexus. There’s quite a bit of that in Tevar, and like in most movies today, the old-fashioned dishoom-dishoom is spruced up with wire-fu choreography. Earlier, the villain would receive a punch and fall down instantly, or maybe he’d stagger a bit before falling down. Now, he flies 50 feet away, as if he were sucked into a giant, invisible alien magnet that found him attractive and then changed its mind at the last minute.
I usually find these action sequences tedious. It’s the same thing, over and over – there’s no real choreography, and there’s very little fresh imagination. Moreover, they tend to go on and on. I saw Taken 3 recently. The film is terrible, as generic as they come, but the hand-combat stretches are swift and short. But in our films – in the climactic stretch – the hero has to fight off the villain’s goons first, and then he has to take on the villain, and for a while, the godlike strength he displayed while dispatching those goons vanishes and he’s at the receiving end of punch after slo-mo punch from the villain, and then he’s knifed and he falls on the ground as dust clouds rise around, and the heroine screams in distress and runs towards him, and the villain stops her and drags her away, and then, as the background goes silent, the camera zooms in on the hero and we see an eye flicker open, a finger waver unsteadily…
Amit Ravindernath Sharma, the director of Tevar, understands the need to do something about this. He knows he can’t do much with that climactic stretch, but elsewhere he gives us variety. And apart from the dishoom-dishoom, he focuses on chases. Car chases. Bike chases. Chases during rains. Chases during Holi. Chases on foot. The latter turn out to be the most interesting. They are staged in the intricate network of narrow alleys in Agra and Mathura, and you can imagine the cameraman having dropped twenty kilos during the shoot.
Scene for scene, Tevar is beautifully filmed – and part of this beauty comes from its locations, which contribute “local” props like the istriwallah’s iron and the halwai’s ladle to the fight sequences. We keep ruing the fact that rural India has vanished from our screens, but small-town India has taken its place, and this is equally fascinating. Masala movies are typically set in near-mythical villages lorded over by demons, but the small town adds a little more texture – these ancient good-versus-evil scenarios now play out in a world of Facebook and phone cameras and the Chicago Bulls jacket on the leading man (Pintoo, played by Arjun Kapoor, who really needs to learn how to hold back; there are times he seems to be acting in his own little silent movie). But the India around him hasn’t changed too much. It’s noisy and colourful, and the frames burst with life. Sharma is a genuine filmmaker. His scenes are artfully lit, staged, populated with extras – he makes a masala movie as if he’s making something loftier, worthier, and Tevar is the better for it.
At heart, the film is a compendium of masala-movie clichés. (It’s a remake of the Telugu blockbuster Okkadu, which was remade in Tamil as Ghilli.) It’s the kind of film where you have a song (a nicely choreographed number that goes “Main to Superman, Salman ka fan”) to show that the hero can dance and then you follow it up with an action sequence to show that the hero can fight. The people surrounding Pintoo are clichés too. There’s the quietly exasperated father (Raj Babbar), the paratha-dispensing mother (Deepti Naval), the perky sister, the loyal, cheerful, and not-exactly-career-minded pals – even the villain is a cliché, a bad guy with big connections. Gajendar Singh (Manoj Bajpai) is the brother of the home minster, and he makes a habit of donning florid scarves and killing enemies on the roads, in broad daylight. But the way Bajpai plays the character is far from cliché – he shows us what a good actor can do with a stock part. Around midway, after one of those chases, Pintoo finds that he has the upper hand and decides to have some fun. He orders Gajender and his goons to take their pants off. There’s no rage on Bajpai’s face – just bemused amazement, as if he cannot believe that this kid has reduced him to this.
This plot point comes about because Pintoo wants to save Radhika (Sonakshi Sinha) from the love-struck Gajendar, and Bajpai is good in these falling-in-love portions too. When Gajendar sees Radhika, the soundtrack erupts with Kora kaagaz tha yeh man mera, and if we are to take the song literally, then this is the first time he’s fallen in love – hence the shyness. In Gangs of Wasseypur, Bajpai played a tough guy who goes butter-soft in the presence of women – he’s playing a similar character here, but with an undertone of menace. He has a terrific scene where he barges into Radhika’s college and tells her that he wants to marry her. He doesn’t raise his voice, but underneath the proposition you can sense the threat. Marry me… or else.
One of the more interesting aspects of this story is that we have a love angle, however one-sided, between the villain and the heroine, but for the longest time, there’s nothing between hero and heroine. Pintoo is one of those men we don’t see that much anymore, the hero drawn from the Hanuman-bhakt archetype, respectful and protective of women but not really into following them around with songs destined to add to the repertoire of the Eve-teasers in the audience. He’d rather play kabaddi with his guy friends. The film’s great visual joke is that the Taj Mahal looms over his neighbourhood, practically begging him to fall in love, or maybe mocking his lack of interest in it. And when he does fall for Radhika (and when she falls for him), we see it as the result of a natural progression of events, not as something “cute.” You see why she falls for him, and how – and the director stages this realisation in a song video that also features… dishoom-dishoom. Only, now, she’s the one who’s hit in the solar plexus – that sudden realisation, that thunderbolt. The cost of this artsiness is that Tevar isn’t as electric as it should have been, though that’s also a function of the film being at least a half-hour too long. Win some, lose some, I guess.
KEY:
- tevar= scowl / attitude
Copyright ©2015 Baradwaj Rangan. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
venkatesh
January 11, 2015
Ghilli/Okkadu is definitely one of the best “masala” films to come out of Tamil/Telugu cinema and one of the best parts tailor made for Illaya Thalavalli…..
Tevar falls short.
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Di
January 11, 2015
I will go see it for Bajpai. I love him in ‘loverboy’ roles. HIs pinjar being all time favorite. For once I forgot it was pakistani and just saw the love…lol
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Priyanka
January 11, 2015
Yes! I haven’t seen the movie, but by the look of it I thought it was going to be better than the average “masala” movie today. I was disappointed when everybody else called it trash, so I’m glad at least one person though it was acceptable. Can you elaborate on what you meant by Arjun “toning it down”, I don’t really understand that part, was he overacting? (He was so undewhelming in 2 States…) And I haven’t seen many Tamil movies, but his “coolness”/”swagger” in Main toh Superman vaguely reminded me of Vijay?
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brangan
January 11, 2015
venkatesh: Agree that “Ghilli” is good fun, but it suffers from the thing we usually find in Tamil masala movies, the tonal inconsistency thing.
Remember that AR Murugadoss interview of mine where he said he replaced the boisterous “Rangola” song (in “Ghajini”) with a more emotional number in the Hindi remake — because the characters at that point would not be singing such a bouncy duet? The director here has taken that kind of care in the remake. A girl in this heroine’s position simply would not be dreaming of “Appidi podu.” The equivalent song here is more emotional. And it’s not just in the songs — the characters, too, are more rooted, real. Solid work all around, both in front of and behind the camera.
Priyanka: Yes, I meant he was overacting — making faces like a silent movie actor. He really doesn’t have much range. I didn’t like him in “2 States” either.
With a better hero and better songs, this could have really been something — but even as it is, it compares quite favourably with “Ghilli” (haven’t seen “Okkadu” though).
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Priyanka
January 12, 2015
Oh ok thanks for the clarification. And yeah I don’t particularly like Arjun Kapoor either, but then again I haven’t really seen much of him. Oh and I just checked the Ghilli cast, and saw that Vijay played the lead in that movie, and I definitely didn’t mean that Arjun was as good as him. I just meant that the one song (Main toh Superman) reminded me of how “cool” Vijay was in Thupakki, (the laid-back chill expressions while beating up a bad guy) And yeah these types of movies do need a strong hero, Mahesh Babu in Okkadu was also really good.
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Mani AJ
January 12, 2015
Hong Kong made Chinese movies also dispenses their version of dishoom-dishooms … though somewhat muted compared with the ear-shattering mayhem (esp during the action BGM) of our movies. Guess this complements the loud & crass overacting villains of our movies …
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Raj Balakrishnan
January 12, 2015
Hi Baradwaj, sorry for going off-topic. Did you by any chance review or share your thoughts on Gone Girl?
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brangan
January 12, 2015
Raj Balakrishnan: Yes. Here.
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ManuKrishnan
January 12, 2015
Brangan,its a pity u havent seen okkadu. I would have love to hear ur views on mahesh babu. He was really good,especially for an actor who looks so coy and boyish.Have u seen any of mahesh’s films?
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Karthik
January 12, 2015
Dear BR,
One of the interesting things I remembered about ‘Okkadu’ was city vs village subtext, the hero with his urban setting being not just sensible but also quite intelligent and the villain from the village being shown as a foolhardy brute. In fact, there was a scene in which character played by Mahesh says as much. I’m not sure if that comes out in tamil version too since I haven’t seen it.
Now, I haven’t seen Tevar but it was clear from the trailers that both the hero and the villain are from small towns. This itself put me off from the movie since the dichotomy could have made the confrontation quite dramatic.
And, while on the topic, we have seen so may remakes where what really worked in the originals is nowhere to be seen. Do you think these things get lost in translation, or the people who remake these films don’t actually ‘get’ what worked in the original?
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Raj Balakrishnan
January 12, 2015
Thanks
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niranjanmb
January 12, 2015
As a digressive question, have you seen Kashyap’s Ugly yet? Any plans on reviewing it? I’d like to see what you EXTRA you have/would have seen in it.
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venkatesh
January 12, 2015
@BR: While i agree with you ., there is something off about the role being done by Arjun Kapoor – Vijay and Mahesh were terrific in what they did.
In general, South Indian heroes are much better when it comes to Masala films.
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ram murali
January 12, 2015
Haven’t watched this yet but one problem that I had with Ghilli was pacing. I thought that the movie, from probably the 20-min point till the intermission was snappy to the hilt. Post intermission, it was salvaged by the humor (notably between vijay and his sister)…the climax I thought was ridiculous…Vijay saying to Trisha that he will “poayi un visa vaangitu varren” was so laughable…enamo “poayi oru vada vaangitu varren”-nu solra madhiri solluvaan!
Were there pacing / lack of detail issues here?
Off topic – two jokes that I re-read recently:
1. Guy to his friend (circa 1988): Anney torch eduthuttu enga kilambiteenge?!
Friend: Agni Natchathiram Paake thaan!
Guy in theatre – “Pinne e-mail la masaal vadaiya varum?!” (the “inspiration” for my comment on trisha’s visa!)
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aditebanerjie
January 13, 2015
Watch a movie for the “chases”?? Not for the story, the awesome acting, the wonderful plot twist…but for the chases!? Thanks but no thanks.
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SR
January 14, 2015
‘onomatopoeia’ – only you would respect your audience enough to expect Webster’s familiarity. I suppose, like the above director, you too hope for a discerning audience 🙂
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Sid
January 14, 2015
I remember Ghilli for the performance of the one and only Prakash Raj his characterization was funny and cynical in a way of being over the top. I thought that was the biggest pulling factor for the film so is Manoj bajpai’s character is as strong the former mentioned one??
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brangan
January 14, 2015
ManuKrishnan: Can’t recall any Mahesh Babu films I’ve seen. As most of these films end up remade, I don’t feel the need to watch the originals. Of course, as you say, I’m missing out on the actors/stars, because especially in the Tamil/Telugu masala mode, the “star” aspect is really interesting… possibly more so than the “actor” aspect.
Karthik: I didn’t feel that village/city thing to be a huge deal-breaker. Because even in “Ghilli”, it wasn’t a major subtext or anything. Maybe it was in “Okkadu”?
Do you think these things get lost in translation, or the people who remake these films don’t actually ‘get’ what worked in the original?
I don’t think there’s much to lose in translation in these films, as they’re not really rooted in a “real” reality — rather, they operate in a “mythic” zone, and that zone is constant across India.
venkatesh: In general, South Indian heroes are much better when it comes to Masala films.
Oh definitely. Like I said above, the “star” aspect is very important in these films, which is why even Vijay — who is such a weak actor in the general sense — is quite fun to watch in a “Thuppakki.” It’s very hard to put a finger on WHAT exactly this is, but it’s there. And it’s completely missing in Arjun Kapoor. I guess only Salman has that star aspect in Hindi films. Maybe Ranveer Singh too… He was excellent in “Ram Leela”.
ram murali: Reg. pacing issues, this film is too long and as I said in the review, some of the electricity is missing.
SR: Hey, that’s a word we all learnt in school, right? 😀 In the context of “bang” “crash” and so on… About the same time you learn about “pathetic fallacy” and things like that? 😀
Another fantastic bit of “Indian” onomatopoeia is “dishkyaaon” — you REALLY hear the bullet as in a 1970s film 🙂
Reg. “only you would respect your audience enough to expect Webster’s familiarity. I suppose, like the above director, you too hope for a discerning audience”
Not really. The thing is that I don’t write for an audience, I guess? In the sense that when I write I don’t pause to think “oh, this is something the reader might not get” and so on.
My logic is that if a reader reads a couple a pieces and finds it isn’t the kind of stuff he likes to read, then he’ll move on and find another blog that works for him. That’s a much more ideal situation that me trying to figure out the reader and write according to him.
That’s what I do too. If I find a new voice, even in fiction, I’ll give it a go. But if it doesn’t do it for me, I move on. That’s much better IMO than sticking to the writer and then constantly complaining about the things you find annoying — too much angst in that case.
Sid:Yeah. Prakash Raj played the character like a zany cartoon — really over the top. Bajpai plays him more like a real person. Two different approaches, really. Both work.
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psycho
January 14, 2015
Have you seen ‘I’ ? Eagerly awaiting your eloquent essay on Shankar’s latest
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brangan
January 14, 2015
psycho: What??? Shankar’s made a new movie???
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psycho
January 14, 2015
Hey don’t take my case 🙂 I have been a silent reader of your blogs for a long time. My first time commenting since the hype is too high for ‘I’ and the initial reviews I have read are not of quality. I cannot blame them because first reviews were out before 10 A.M today whereas it should take a day or two for the movie to sink in. Nevertheless I am impatient for your take on the same 🙂
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ManuKrishnan
January 14, 2015
BR: especially in the Tamil/Telugu masala mode, the “star” aspect is really interesting… possibly more so than the “actor” aspect.
Definitely.I Have seen at least 3 remakes of pokkiri, but nothing compares with the mahesh babu original.Its really the lead star \actor who makes the difference in a film like this, like the Bachchan films of yore.
Btw , do you have an opinion about the latest Lingaa crisis?. It seems to be the first time that the distributors are fasting for the lead actor to refund their losses. I dont think this has ever happened before. You should make a piece about this.Would love to hear your views about this.
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Mani AJ
January 15, 2015
Tevar supposedly features an item song / dance number from Shruti Haasan … since there’s no mention of it in the review, I suppose it’s just that … a non event :- (
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Bunny
January 19, 2015
SR: Reading Rangan’s reviews alone has improved my vocabulary. Besides, this is why they always encourage kids to read. Remember? At school we were told to read regularly because reading also helps building one’s vocabulary. There’s NO harm in learning new words. (Btw, Onomatopoeia is hardly that big a word.) The day we stop learning, we stop living.
BR: I hope you won’t simplify your writing the way certain Indian filmmakers dumb-down their films to be more ‘accessible’ to masses.
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Puneeta Uchil
April 17, 2015
My slightly more ecstatic review 🙂
https://uchilpuneeta.wordpress.com/tag/tevar-review/
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