Thamma movie review
Director: Aditya Sarpotdar
Cast: Ayushmann Khurrana, Rashmika Mandanna, Nawazuddin Siddiqui
Rating: ★★★.5
At a time when the ‘universe’ craze in Indian cinema is still finding its feet (and another big universe has already stumbled), the Maddock Horror Comedy Universe scores.
Its connections aren’t stitched together for show, nor do flashbacks bail it out for convenience. Every link feels earned, every crossover organic, and Thamma, directed by Aditya Sarpotdar, is proof that this universe actually has a plan.
Thamma review: What is the story?
I have to admit: the trailer of Thamma and its songs had left me asking for more. But the film itself more than makes up for everything. The story revolves around Aalok (Ayushmann Khurrana) a news anchor, who is rescued from a bear in the wild by Tadka (Rashmika Mandanna), a betaal. Now, these aren’t like the Twilight vampires- they can step out in the sun, nor is there the complication of something like a wooden stake through the heart, killing them. As things get complicated in Aalok’s life, Tadka is asked to leave. But one thing leads to another, and now Aalok is himself a betaal. At the helm of everything is Yakshasan (Nawazuddin Siddiqui) the jailed head of the betaals. He has been chained for 75 years with a rule in place… Tadka breaks it, and all hell is set loose.
I have not given away any spoilers, so relax. The story by Niren Bhatt, Suresh Mathew and Arun Falara takes enough care not to make things complicated for the audience. It does borrow a crucial element from the Twilight franchise (which gives Thamma its big turn post the interval), but makes it its own. The hero of Thamma has to be its dialogues, and one-liners. Be it the interesting analogy which betaals draw about humans (Insaan zehreelay hote hain, Tadka recalls in a key scene, explaining why they don’t drink human blood anymore), or a hilarious scene where Ayushmann is mistaken for his brother Aparshakti as Bittoo from Stree… the smart writing elevates the plot.
The first half has a proper flow to it. The love story between Tadka and Aalok feels organic, there’s genuine chemistry between Ayushmann and Rashmika. The interval point comes at the right time, and then the second half turns into a roller coaster ride, one filled with the critical integrations with the other films of the MHCU. Weaving the story into the mythological tale of Rakhtbeej is a masterstroke, and that explains why I mentioned MHCU as the only Indian film universe getting things correct.
There are some stumbles along the way. Some comic portions in the first half can test your patience.
Thamma: Performance report card
In the performance department, Ayushmann as Aalok is a hoot. His coming timing has been proven before too, and here, in a non-social message drama, he flourishes. Rashmika as Tadka/Tarika fits the role pretty well, and together their sequences actually land. Nawazuddin as the titular Thamma doesn’t get a lot of screentime, but the story has been written in such a way that you feel his presence right till the climax.
Paresh Rawal as Aalok’s father delivers some laughs, but the emotional father-son angle in the second half doesn’t quite connect.
The cameos bring the house down, and actually help Thamma.
The music here doesn’t take centrestage, but keeps things ticking
Overall, Thamma feels less like another franchise instalment and more like the moment the MHCU truly finds its rhythm. It blends humour, and heart with surprising confidence, leaving you curious about what’s next…and for once, that curiosity feels well-earned.
