What could have been like one of those good 90-minute Hollywood action films gets reduced to a meaningless, forgettable affair, and the annoying attempts at comedy are added blows
Have you ever been captivated by those fast-paced 90-minute Hollywood action movies? The ones where an ordinary hero takes on a formidable antagonist, often a mafia boss, with a limited scope of stakes, a decent budget for explosive moments and thrilling car crashes. These films provide a sense of satisfaction through their familiar storyline with occasional surprising twists. If you happen to enjoy this particular flavor of movies, you might find yourself doubly disappointed with "Takkar." As you watch it, you'll realize that Karthik G Krish had more than enough space, potential, and resources to deliver a film of that caliber. Additionally, the movie attempts to create a villain reminiscent of Gus Fring. Just like Los Pollos Hermanos served as a front for illegal activities in "Breaking Bad," in "Takkar," a Korean man who perpetually poses in the Upward Lotus Pose owns a taxi company where any damage inflicted on his expensive BMW is repaid by causing harm to the driver.
Takkar (Tamil)
However, contrary to expectations, after sitting through the two-hour duration of "Takkar," one might ponder whether the film would have benefited from taking more time to develop its storyline. Karthik's debut feature effort holds an intriguing setup, a series of events leading to a unique conflict, and even an impressive pre-climax. Furthermore, Siddharth delivers a terrific performance, showcasing his skills at the highest level. Unfortunately, everything in between these notable aspects of the film turns out to be a mess.
The protagonist, Guns, finds himself pushed to the limits of life and faced with a life-altering decision when he stumbles upon a bag full of money. In a manner reminiscent of Ryan Gosling's character in "Drive," Guns seizes the opportunity but soon finds himself thrown back into chaos. It is during this journey that Guns discovers the inner action hero within him and realizes that fighting back is a choice he can make. However, this choice places him in the crosshairs of a group of human traffickers who have kidnapped a girl named Mahalakshmi, also known as Lucky. By chance, Guns manages to rescue Lucky, and it becomes apparent that they share similar circumstances. Both of them are adrift from normal life, having no desire to return. While the kidnappers intend to sell Lucky to multiple men, her own wealthy businessman father plans to sell her through marriage for a profitable business deal. As Lucky and Guns roam in search of pleasure, seeking solace in a nomadic and spontaneous lifestyle, they find themselves pursued by Lucky's father, the Korean taxi company villain, and the traffickers' henchmen. Furthermore, a hint of sexual tension simmers between Lucky and Guns.
Throughout "Takkar," one gets the impression that this is a heavily truncated version of what could have been a larger, more expansive movie. Unfortunately, nothing truly sustains in the film except for the irksome comedy provided by Yogi Babu and RJ Vigneshkanth. The intention behind Karthik's writing, along with story writer Shrinivas Kaviinayam, is apparent, but it fails to come together on the screen. The cat-and-mouse game between the characters is interspersed with meaningless comedy scenes and passable song sequences, resulting in a dull viewing experience.
One of the film's biggest mysteries revolves around the character of Lucky. She comes across as a mere representation of the script's ideas and words rather than a fully realized human being. For instance, we are left wanting more insight into why she initially likes Guns and what her thoughts are throughout their journey. After all, Guns himself refers to her as an "accidental trophy." Considering her desire for freedom and her challenge of societal limitations, including the institution of marriage and the need to label everything, why does she choose to accept Guns' proposal? A line about seeing her mother in him contradicts everything we thought about her.
The writing feels forced, and the screenplay meanders through boring scenes, leaving the audience unable to shake off the disengagement they felt in the first half. From the outset, there's a scene where Guns drops Lucky off at her home after a disastrous date. Despite her wearing a stunning dress in the backseat, her chest is strangely blurred throughout the entire ride. If this was done to secure a U/A certificate, one can't help but wonder what objections the Censor Board might have had. If they were progressive enough to retain a kissing scene and include discussions about sex, why would they be concerned about a woman wearing a dress she likes?
On the other hand, "Takkar" is also the same film that features a sensible hero who, stranded in the middle of nowhere, willingly dons his female friend's clothing and allows her to apply makeup on him. It's commendable on Siddharth's part to portray a character with secure masculinity, unburdened by shame when it comes to dressing up or wearing makeup. Siddharth's portrayal of Guns is undoubtedly the film's standout aspect, captivating the audience's attention and leaving them yearning to see him in an adrenaline-pumping action movie. However, despite his remarkable performance, one cannot help but wish that "Takkar" had more to offer beyond a memorable one-liner.
"Takkar" is currently being screened in theaters.
