Thamma Movie Review: A toothless addition to a spirited franchise
The Maddock Horror Comedy Universe (MHCU) has undeniably changed the landscape of commercial Hindi cinema. By successfully blending local folklore with laugh-out-loud comedy and genuine scares, films like Stree, Bhediya, and the recent Munjya have set a high bar. Naturally, expectations were sky-high for Thamma, the fifth installment in this interconnected world. Directed by Aditya Sarpotdar, Thamma attempts to introduce the “Betaal” (an Indianized vampire) into the mix. However, despite a star-studded cast led by Ayushmann Khurrana and Rashmika Mandanna, the film feels less like a cohesive narrative and more like a checklist of franchise obligations. While it has its moments of brilliance, Thamma largely suffers from an identity crisis, hovering awkwardly between a quirky romance and a mythological epic without fully committing to either.
Plot: Love at First Bite
The story centers on Alok Goyal (Ayushmann Khurrana), a quintessential, somewhat bumbling Delhi journalist who thrives on sensationalism rather than substance. His life takes a sharp turn during a hacky assignment in a dense forest. After being abandoned by his colleagues during a bear attack, Alok is rescued by a mysterious and enchanting woman named Tadaka (Rashmika Mandanna). Tadaka is not human; she is a “Betaal,” a member of an ancient vampire-like sect.
The film establishes a unique, albeit controversial, lore: these Betaals have sworn off human blood. The reasoning provided is tied to the horrors of the 1947 Partition; witnessing the brutality humans were capable of, the sect decided human blood was too toxic and vile to consume. However, this pacifist stance is not shared by everyone. Yakshasan (Nawazuddin Siddiqui), the formidable and ancient leader of the sect, was imprisoned in a cave 75 years ago for refusing to adhere to this dietary restriction.
The narrative propels forward when Tadaka, smitten by Alok (and vice versa), accompanies him back to Delhi. Rebranded as “Tarika,” she attempts to navigate domestic life under the suspicious gaze of Alok’s father (Paresh Rawal). Things spiral out of control when a near-fatal accident forces Tadaka to turn Alok into a Betaal to save his life. This violation of the sect’s laws awakens the dormant threat of Yakshasan, setting the stage for a showdown that drags in characters from the wider universe, including the werewolf Bhediya (Varun Dhawan).
The Good: Innovative Lore and Performance Highs
Credit must be given where it is due: the concept of reinterpreting the Western vampire mythos through the lens of Indian folklore (Betaals) is inspired. The film opens with a prologue set in 323 BC involving Alexander the Great, which promises a grand historical scale. The visual effects, particularly in the depiction of the Betaal’s agility and the transformation sequences, are generally competent and occasionally impressive.
Performance-wise, the cast does the heavy lifting to keep the screenplay afloat. Ayushmann Khurrana is in his element playing the confused everyman who stumbles into heroism. He handles the physical comedy of his transformation—learning to control his new fangs and bloodlust—with his signature charm. Rashmika Mandanna, in arguably her most significant Hindi role to date, brings an ethereal quality to Tadaka. She balances the ferocity of a predator with the innocence of someone discovering the modern world, although the script often reduces her to a sexualized object of desire rather than a terrifying entity.
Nawazuddin Siddiqui is the scene-stealer. As the antagonist Yakshasan, he chews the scenery with glee. His portrayal is campy, theatrical, and menacing, reminiscent of classic Bollywood villains but with a supernatural twist. He infuses energy into the film whenever he is on screen, making one wish he had more runtime. The supporting cast, including the reliable Paresh Rawal as the paranoid father and Faisal Malik as a Betaal-cop, provide consistent laughs, grounding the supernatural elements in mundane Indian realities.
The Bad: A Screenplay Cluttered with Contradictions
Where Thamma falters significantly is in its writing. The screenplay, penned by Niren Bhatt, Suresh Mathew, and Arun Falara, feels overstuffed. The film tries to be too many things at once: a creature feature, a romantic comedy, a family drama, and a social commentary. In doing so, it dilutes the impact of each genre.
The most glaring issue is the film’s attempt at social messaging. The MHCU films are known for weaving subtext into their horror (feminism in Stree, environmentalism in Bhediya). Thamma attempts to tackle the trauma of Partition and the concept of “toxic humanity,” but the execution is clumsy and, at times, tone-deaf. Using a historical tragedy merely as a plot device to explain why vampires went vegan feels trivializing rather than profound. Furthermore, the film oscillates between critiquing the male gaze and actively indulging in it through item songs and camera angles focused on Mandanna, creating a jarring cognitive dissonance.
Pacing is another major hurdle. At a runtime of 150 minutes, the film feels bloated. The second act, which focuses on Tadaka’s integration into Alok’s Delhi household, drags on endlessly with repetitive “fish out of water” gags. By the time the stakes are raised and Yakshasan breaks free, the audience is likely to have checked out. The editing is slack, with scenes that serve no narrative purpose left in seemingly to accommodate cameos or forced humor.
Technical Aspects: Visuals and Sound
Technically, the film is a mixed bag. The cinematography by Saurabh Goswami captures the eerie atmosphere of the forest and the chaotic vibrancy of Delhi nights effectively. The use of shadows and red hues to depict the Betaal world is visually distinct.
However, the audio department leaves much to be desired. The soundtrack by Sachin-Jigar, usually a strength of this franchise, is underwhelming. Apart from perhaps one romantic track, the songs interrupt the flow of the narrative. The item numbers featuring Malaika Arora and Nora Fatehi feel like algorithmic insertions designed for marketing rather than organic parts of the story. Additionally, the dubbing quality—a complaint noted by several viewers—feels disjointed in places, with lip-sync issues that break immersion.
The Universe Connection: Forced or Organic?
The novelty of a cinematic universe lies in the organic crossover of characters. In Thamma, the connections feel forced. The appearance of Varun Dhawan as Bhediya and Abhishek Banerjee as Jana, while initially exciting for fans, feels shoehorned in to remind us that “everything is connected.” Instead of serving the story of Alok and Tadaka, these cameos distract from it, making the film feel like a glorified trailer for the next Avengers-style team-up rather than a standalone movie.
Verdict
Thamma is a classic example of a film that looks good on paper but loses its way in execution. It has an interesting premise and a talented cast, but it is let down by a wandering screenplay, uneven pacing, and a lack of genuine scares. It is not a disaster, but it is a disappointment considering the pedigree of the studio and the talent involved.
For die-hard fans of the Maddock Horror Comedy Universe, there are enough Easter eggs and character moments to make it a one-time watch. However, for the casual viewer, Thamma is a toothless vampire flick that barks more than it bites. It leaves you with a few chuckles, a bit of confusion, and the distinct feeling that the franchise might be stretching itself too thin.
CINEMA SPICE RATING: ★★½ (2.5/5)
