Takkar critique: Siddharth’s movie errors silliness for humour, pretentiousness for design

One particular of the evergreen fulfill-cutes from Tamil cinema is from Vijay-Jyotika’s Khushi. The two are in a temple viewing a bodily-challenged female light an oil lamp, which commences to flicker in the wind at the time she leaves. Both Vijay and Jyotika rush to preserve the dying light-weight, and their eyes meet up with. In Takkar, the 1st meeting of Gunashekar (Siddharth) and Mahalakshmi (Divyansha) also includes a symbolic fire. But below the fire is from a cigarette lighter that the hero has. As he is about to light-weight his cigarette, Mahalakshmi, ‘Lucky’ for shorter because she is awesome that way, will come out of nowhere to mild her smoke. Guna is spellbound, but Fortunate walks earlier him with an ‘attitude’. Director Karthick G Krishna’s Takkar is a single of those outdated films where by a lady using tobacco a cigarette is meant to be fashionable. To make her seem ‘even cooler’, the director tends to make her smoke a joint. This sort of a shallow depiction of modernity is omnipresent in this movie that issues pretentiousness for design and style.

Gunasekar leaves his village for Chennai in the hope of receiving abundant promptly. He does not want to die bad like his dad and grandfather. He simply cannot very own a luxury automobile so he finishes up getting the driver in a luxurious taxi provider, which provide only Mercedes Benz vehicles. On the other hand, matters never go his way and he is oft reminded about how he cannot improve his economic status by strolling the straight and narrow. That’s why, when an prospect shows up, he transforms into Jason Satham’s Transporter and even drives a automobile a la Statham to support two human traffickers in lieu of funds. He is not as intelligent as the Transporter and gets conned by the kidnappers and is still left bruised. Soon after a whole lot of contrivances and undesirable creating, we find the hero and heroine eloping in a car or truck with gangsters on their tails. They strike a deal with each individual other to address their respective troubles, but the inevitable Cupid strikes.

The overarching difficulty with Takkar is its wannabe mother nature even the set layout reeks of it. The mansion area of the struggling hero is adorned with a extravagant bookshelf and decor. The sight of him acquiring ready in this bachelor’s mansion and the luxurious automobile parked outdoors of it is not just incongruous but amusing. The depiction of the villains who are intended to belong to a sketchy neighbourhood is similarly facile and silly. As the hero drives by means of the road, we get to see women of all ages and little ones getting kidnapped in the track record like it’s nobody’s enterprise. The adult men are all darkish in complexion with very long hair and beard… you get the drift. And back again to Blessed. On top rated of currently being fashionable, she is also Thara nearby due to the fact she dances to Tamil kuthu tracks. Be it the father of Blessed, who is forcing her daughter to marry a prosperous bridegroom or the Asian manager of Guna, who is referred to as ‘Gurkha pasanga’ by modern Blessed, individuals inhabiting this universe are nowhere shut to getting serious. They are stereotypes, just as cliched as the film’s flimsy 1-line tale: A prosperous woman satisfies a lousy boy and learns about everyday living. The poor boy learns income is not all the things simply because of the loaded female. And we study that Siddharth has designed a mistake.