Takkar, the long-awaited release from the versatile Siddharth, was anticipated to establish him as a prominent commercial hero. After being shelved for a considerable period, the film finally made its debut on June 9th. In this article, we will explore whether Siddharth’s claims about the film’s impressiveness hold true. Let’s delve into the details!
Gunz’s Struggle for Prosperity
Gunz, also known as Gunasekhar (portrayed by Siddharth), is an ambitious young man yearning for financial success. He embarks on a journey to Chennai, where he takes up various jobs in pursuit of his dreams. Unfortunately, he encounters disrespect in most of his endeavors, compelling him to work as a taxi driver. Simultaneously, we meet Mahalakshmi, nicknamed Lucky (played by Divyansha Kaushik), who believes that money is the root cause of misery. Additionally, we encounter the villain, Raza (depicted by Abhimanyu Singh), and his gang, engaged in human trafficking, smuggling, and other illicit activities. As their lives become intertwined, each character relentlessly chases after their own aspirations.
An Outdated Plotline
Takkar, with its predictable storyline, seems to belong to the era of 2000s cinema. Director Karthik G Krish fails to deliver a fresh narrative, as every plot twist can be anticipated well in advance. The film’s sequences often end up unintentionally humorous due to their sheer absurdity. One particularly questionable segment involves Yogi Babu meeting his gangster father.
Although intended to evoke laughter, the dialogues instead highlight the silliness unfolding on screen. It’s perplexing that even in 2023, directors like Karthik G Krish resort to derogatory name-callings, such as referring to Yogi Babu as monkey face, donkey face, and buffalo face. The film also introduces Chinese characters who are derogatorily labeled as Gurkha boys by the actress. Such instances raise concerns about the lack of sensitivity among filmmakers.
From Bad to So-Bad-It’s-Good
Takkar falls into the category of films that are so bad that they become entertaining in an unintended way. The romantic angle portrayed in the film is peculiar and bizarre. Siddharth and Divyansha’s characters have contrasting views on love, and each attempts to prove their point to the other. However, their endeavor takes a surprising turn when they decide to book a motel room for a sexual encounter. Astonishingly, this leads the heroine to fall in love with the hero because he exhibits trivial acts of chivalry, such as ironing her clothes, picking up a dropped comb, and opening the car door for her.
Siddharth’s Efforts in Vain
Despite Siddharth’s commendable performance and versatile expressions, it is challenging to take anything in the film seriously. The portrayal of the villain and his gang is utterly ludicrous, leaving the audience longing for a sense of menace. Unfortunately, Takkar fails to meet even the most basic expectations in this regard.
Lackluster Music and Cinematography
The music composed by Nivas K Prasanna in Takkar proves to be jarring to the ears, particularly during emotional sequences. However, the cinematographer, Vanchinathan Murugesan, does manage to capture the viral song “Nira” effectively. Nonetheless, the film’s overall appeal is marred by its continuous silliness and absurdity.
Source: India Today
