02 Oct, 2014 2 hrs 15 mins U
Prithviraj, Srinda Ashab, Chemban Vinod
Synopsis
The director builds his narrative by weaving together 3 characters in a common thread, triggering events that unite them. It's core elements of satire are buried underneath, never to be retrieved.
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  • Critic's Review
  • Times of India
Story: The film moves around three entirely different characters, two circus performers and a cop whose lives get inter-linked owing to an incident.

Review: There are a few good things about Tamar Padaar , which make us regret being too dismissive about such a film. In his first film as a director, Dileesh works with a set of very interesting characters - two street-circus performers, a young cop and a woman caught between an admirer and her lowly existence. The director builds his narrative by weaving together 3 characters in a common thread, triggering events that unite them. It's core elements of satire is buried underneath, never to be retrieved.

The way he portrays his two circus performers has a natural warmth - two guys with an imposing physique, their heftiness dwarfed by innocence and raw brashness muted by love. The cop is gifted with a queer name - Pauran presented with justness and a controlled dialect by Prithviraj. The reasons by which such a plot could prove less entertaining than it should, may perhaps lie in the writer-cum-director's overambitious efforts to swathe his story in satire. It's like watching a session of predictable paper magic, where multiple rolls come out of a single shred or paper shaping into flowers and trees. We watch it with a belief that somewhere magic would pull off its strongest elements; the surprise and fantasy.

Sequences show police suspecting Sabarimala pilgrims to be maoists who later reveal themselves as devout communists who turn up with a fake beard. There is an evident lack of craft in such sequences. Dileesh also endeavours to churn out scenes from news events which leave behind an air of absolute drabness. He seems weakened in his dual roles as a writer and director, immerses himself a bit too deep in etching imprints of goodness by satirizing contemporary politics but in vain. Even his open admission of emulating Guy Ritchie's exhibition of stunts does not evoke sympathies. As a writer, he can be proud of certain flashes, which he radiates in the film - the romance between a street performer and a sex worker emanates the charm of good old classic short stories, the use of local dialect is not overdone, choice of cast is flawless.

Tamar Padaar goes down as a mediocre attempt, appreciable but never encouraging even with a juicy one-liner and earthy characters.
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