Sinking its teeth — pun fully intended — into the horror-comedy universe is Thamma. Spawned by Stree in 2018, whose super success so far has led to the creation of one sequel (Stree 2) and two connected verticals (Bhediya, Munjya), Thamma is the latest in this multiverse which has now acquired the name MHCU (Maddock Horror Comedy Universe), which, of course — tongue firmly in cheek — is not to be confused with the MCU (Marvel Cinematic Universe).
The good news of this new instalment — which is also the big Bollywood Diwali release of the season — is that, for the most part, it blends horror and humour, lore and legend, myth and mystique in an engaging manner that delivers a serviceable dose of entertainment even as it aims to extend the scope of the universe.
Directed by Aditya Sarpotdar, the man behind last year’s sleeper success Munjya, out of a script written by Niren Bhatt, Suresh Mathew and Arun Fulara, Thamma dips its toes into the folklore of Betaal (minus Vikram) — a spirit that had, for long, stayed alive by baring its fangs and slurping down human blood, but now desists from doing so after witnessing a bloody chapter in India’s history (which is, to be honest, the weakest part of its writing).
However, its unhinged leader — Yakshasan aka Thamma, played by Nawazuddin Siddiqui — will have none of it, striking lows of anaemic discontent after gulping down animal juices for the better part of seven decades. After all, the film commences with Yakshasan going as far back as 323 BC to stick his fangs into Alexander (yes, of ‘The Great’ lineage), but his wayward ways have made his subjects rebel against him, resulting in him being held captive.
Though not a human, but with a metaphorical beating heart in this Betaal community is Tadaka (Rashmika Mandanna), whose chance encounter with social media pseudo journalist Alok (Ayushmann Khurrana) sets the two off on a path which starts from the jungle and lands up in Delhi (which, in many ways, is another jungle). The chemistry between the two sets up the universe’s first “vampire romance”.
The first half, though replete with some fun one-liners, moves at a rather (to quote an eye-rolling Miranda Priestly) “glacial pace”. The twist in the minutes right after intermission leads to a far more thrilling and action-packed Half Two, which, unfortunately, is also over-stuffed in parts.
Marking Ayushmann and Rashmika’s entry into this horror-comedy universe, Thamma has the requisite amount of fun and feel, but doesn’t score high in the fear department. Most of the scares are more than tinged with humour, which make them lose their edge. Yakshasan, in fact, is quite a caricature of a villain. It is to Nawaz’s credit that he hams it up gloriously and gives us an antagonist who might not make us quake in fear but does bring on the guffaws with his dialogues that meld pop-culture hat-tips and meta movie references. Like the first meeting between Alok and Yakshasan where everything from Ben Stokes (or rather the cuss word that rhymes with it) to “Aur paas” from Shah Rukh Khan’s Dil To Pagal Hai, is employed with sparkling results.
However, the pressure to tie itself to a larger cinematic universe tells on Thamma. The appearance of an otherworldly creature from the franchise — “Vikaspuri ka Wolverine” should be a dead giveaway — gives rise to a thrilling rooftop action sequence, but weighs down the film, both in terms of plot and pace. References to the universe abound — “Woh ‘stree’ hain, woh kuch bhi kar sakti hain” pops up, with players from the other MHCU films walking in and out. For me, Sathyaraj’s eccentric exorcist didn’t work in Munjya, and he is no better in Thamma. The scene stealer in only one scene is a character we have seen in every film of the universe so far. Oh Jana, na jaana! “Damn un gurr” couldn’t have been more delightfully delivered.
Despite its repetitive action and overlong runtime, what holds Thamma together are some scintillating sequences. Rashmika — the constant wide-eyed look apart — has a solid presence, and the sequence that allows her to show her action (and acting) chops is a standout. Paresh Rawal, playing Alok’s father, discovering a key character making a meal out of a blood bank, is hilarious. “Jee le apni maut ki baad ki zindagi,” delivered in Rawal’s deadpan style will make you chuckle and cheer. Ayushmann, blessed with a natural funny bone, livens up the humorous scenes, while Panchayat’s Faisal Malik gets his moment to shine.
But Thamma overstays its welcome. Too many item numbers — from Malaika Arora to Nora Fatehi to Rashmika herself showing off washboard abs as a break from the razor-sharp fangs we get to see throughout the rest of the film — handicap an already bursting-at-its-seams plot. The computer graphics, in parts, are also questionable — the bhaloo in the jungle definitely can’t hold a honey pot to Baloo in The Jungle Book.
Thamma, however, has enough to ensure a good time at the movies. But it could have been so much more. The fang-bearing act often feels like a long dental clinic ad and the six degrees of separation in figuring out which creature will become doubly powerful by drinking which other creature’s blood, is very confusing. Even frothing-at-the-mouth Dharam paaji has now given up on his ‘bloody’ plans.
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