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Thar review – Anil Kapoor’s violent cop thriller puts the punch in Rajasthan

There are hints of Sergio Leone and Cormac McCarthy in this Rajasthan-set mystery starring the actor and his son

R aj Singh Chaudhary is the Indian actor, screenwriter and now director who has developed his career under the mentorship of Anurag Kashyap, the creator of the mob classic Gangs of Wasseypur . Chaudhary has now made a punchy, nihilistic, western-style thriller, co-written with Kashyap, with hints of Sergio Leone and the borderland paranoia of Cormac McCarthy.

The setting is Rajasthan in the 1980s, but not the Rajasthan beloved of tourists and attenders of the Jaipur literature festival: this is the vast, forbidding and starkly beautiful Thar desert between India and Pakistan. Movie legend Anil Kapoor turns in a likable, authoritative performance as a veteran police inspector called Singh whose beat covers the remote village of Munabao. As he nears retirement, Singh has to deal with a sudden incursion of banditry and violence from drug runners bringing opium across the border from Pakistan, but also strange and macabre acts of violence that don’t have any obvious motivation.

Moreover, Singh and his deputy (a nice comic turn from Satish Kaushik) are nettled by the sudden appearance of a mysterious stranger, who calls himself Siddharth, played by Harshvardhan Kapoor, son of Anil. Apparently, Siddharth is a dealer in antiquities; however, Singh suspects that he is one of the drug runners, concealing narcotics in these fake and supposedly priceless objects. Yet the truth is stranger still, and involves Siddharth’s relationship with a lonely and beautiful woman, played by Fatima Sana Shaikh.

This is a stomach-turningly violent movie, and Inspector Singh isn’t above using beatings to get answers to his questions. There is a very impressive action sequence involving a Land Rover flying through the air. In the end, I felt the explanation for the violence was a little glib, but this is a film made with gusto and style.

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Thar movie review: The setting is the real hero in this Anil Kapoor, Harsh Varrdhan Kapoor film

Thar movie review: this is one of those films where the setting is the real hero-- the ‘marusthal’ (desert) stretching as far as the eye can see, crumbling forts, bare trees providing meagre shade, implacable, hard beauty..

Thar has many elements jostling for our attention: a tiny outpost in a border town, a mysterious stranger, a couple of cops, and a series of bodies, draining of life-blood, decaying, dying. But this is one of those films where the setting is the real hero– the ‘marusthal’ (desert) stretching as far as the eye can see, crumbling forts, bare trees providing meagre shade, implacable, hard beauty. This stunning landscape and the haunting soundscape becomes the site of a ‘bawandar’ (storm), as a principal character describes it, which blows everything away in its wake. These sights and sounds of Thar will stay with me, even as I quibble about some of it.

This film would have been called a spaghetti western in the days when Sholay (1975) was released. The filmmakers are aware of how much Thar, set in 1985, reminds us of the OG desi western– a balcony with a woman looking over it, the blazing lights of the desert, the armed men clattering on horses, and the keening violins. And just in case we’ve lost sight of it, Inspector Surekha Singh (Anil Kapoor), who likes being explicatory, muses aloud whether it is not about bad guy Gabbar anymore, but maybe Jai and Veeru, or even Basanti, or, you know, Ramlal?

Having believed that he has sufficiently muddied the waters (the dialogues are credited to Anurag Kashyap, who was probably grinning when he penned this and other salty, invective-laden lines in the film) the cop who has stuck to his job without getting a promotion, returns to the job at hand: who is behind the killings?

Like in all good westerns, the needle of suspicion swings towards the near-silent outsider, who frequents a small eatery run by a cheerful fellow in suspenders. Siddharth (Harsh Varrdhan Kapoor) wears ‘khakee’ and ochre, which matches the colours of the film, and criss-crosses the area in a muddy jeep. Who is this guy? Is he really an antique dealer as he claims to be? Or is there something more sinister going on? There are drug growers and smugglers about. Were they the ones responsible for the terrible deeds?

Meanwhile, we are presented with the most grisly, gruesome scenes of violence, bordering on torture porn. And here’s where the film begins to feel excessive: the victims, hanging from the ceiling, blood running out of multiple orifices (I will never be able to see a rat again in the same way), beg for mercy over and over again. By which time we are numb, and past caring. A well-judged mystery reveals its cards at the right time. In Thar, it comes just a little too late. In between, a strand featuring ‘afeem’ (opium) smugglers from Pakistan and their accomplices on the Indian side, is thrown in. But these threads do not really mesh well enough, and the film, despite all its brilliant tech specs, feels underwhelming.

In a place which feels so real, many of the actors appear grafted. The bunch meant to be locals (Jitendra Joshi and Sanjay Bishnoi among them) looks as if they could belong, but even they stand out when placed against the villagers who dot several scenes. Fatima Sana Shaikh makes us aware that she has hidden feelings, but she calls attention, and her garb feels like a costume. And Harsh Varrdhan comes off too impassive even when he is sharing his turmoil. In contrast, Anil Kapoor, though appearing not rustic enough, slides smoothly through the movie, zig-zagging, shooting, cursing fluently: he is the worn, tired moral centre of the movie, and he doesn’t duck a single bullet.

The best performance comes from Satish Kaushik: as the lower caste cop whose uniform is a shield in more ways than one, Bhure is one with the ‘thar’. This is where he came from, and this is where he goes.

Thar movie director: Raj Singh Chaudhary Thar movie cast: Anil Kapoor, Harsh Varrdhan Kapoor, Satish Kaushik, Fatima Sana Shaikh, Jitendra Joshi, Sanjay Bishnoi, Sanjay Dadhich, Mukti Mohan Thar movie star rating: 2.5 stars

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• Record at THE STUDIO by Rolling Stone India at Creatorland Mumbai

‘Thar’: A Desolate Story That Matches the Landscape

Cuss words and gory scenes try to insinuate some tension in ‘Thar,’ but it’s all so barren that nothing holds your interest

Thar (108 minutes)

Cast : Anil Kapoor, Harshvardhan Kapoor, Fatima Sana Sheikh, Satish Kaushik, Jitendra Joshi, Mukti Mohan Direction: Raj Singh Chaudhary Rating : ★1/2 Streaming on Netflix

There’s a simple and brutally honest way to measure a film’s worth: Consider the time you spent watching it and then think if you would have been better off spending that amount of time doing something else.

I have watched Thar and I can think of at least 75 things I could have done instead of trying to make sense of the film, including rearranging my socks by color.

Thar , written and directed by Raj Singh Chaudhary, shot by Shreya Dev Dube and produced by the Kapoor papa and  beta  duo, is a wannabe Western. It has the setting, the vibe and the color palette. It looks, walks and frowns like a Western, but it doesn’t act or talk or shoot like one. Thar , which tells a tale of gore and revenge, has that annoying Bollywood stench that emanates from borrowed ideas made worse by bad writing. 

Set in Rajasthan in 1985, Thar  follows three different sets of people who are moving around a village close to the Pakistan border. It opens with hurried, secret making-out that’s interrupted by some villagers getting shot.

There is a gang of dacoits that kills seemingly for drugs, arms, ammunition and general hubris. Then there is Siddharth (Harshvardhan Kapoor), a city man who drives a jeep and skulks around the village with a beard, a grumpy look, and, it seems, an agenda.

And finally there is Inspector Surekha Singh (Anil Kapoor) who, along with his junior, played by Satish Kaushik, goes from one dead body to another trying to figure out who killed whom and why.

Some villagers have simply been shot without much ado, while others are murdered brutally. We see the dacoits shooting villagers, but we don’t see who cuts off a man’s ear and then hangs him from a tree. We are just treated to boots in a slow march.

In the village lives beauteous Kesar (Fatima Sana Sheikh), whose husband, along with two others, has gone to the city for work. 

Siddharth keeps coming around. He says he deals in antiques and wants to hire Kesar’s husband for some work in Delhi. But his city-cool presence arouses interest. Kesar is intrigued and seems to like him while villagers gossip about her but decide she is not worthy of being told off because she can’t conceive. They will let her husband deal with her.

Kesar’s husband returns. Siddharth pays and sends him off along with another villager to the city and moves into her house as a paying guest.

But close by, in an abandoned, old haveli , two men scream “Why?” as they are hung and tortured with long nails, a bucket and a rat.

The cops are looking for clues, witnesses and missing men. The dacoits are looking for illegal stuff and safe passage. And Siddharth is looking for god knows what. 

To do this, they all move around in jeeps made by a particular company. Zero marks for guessing which one. Thar’s dialogue are by Anurag Kashyap, so there is a lot of MC, BC. Cuss words and bloody, gory scenes try to insinuate some tension in the film, but the characters are so dull, the story so barren that nothing holds your interest. Except Fatima Sana Sheikh, who is very good and a delight to watch. 

Like every film set in the Wild West, Thar’s landscape is dry, sandy, barren. The colour palette is mostly shades of beige and browns with some CGI buffaloes thrown in. Some string instrument is forever in play.

But apart from being an exhibition of Western-spaghetti tropes, the film has little else. 

Its characters and story are a jumble of incomplete and often incomprehensible ideas. As if the writers started developing a character, a story strand, but then got bored and dropped it there. Nothing feels completed. Everything is a bit vague. 

Surekha Singh is forever whining about how he will retire as an inspector and even gets weepy-eyed. But nothing comes of this. A seemingly important man arrives riding a horse, shoots a bird, insults the inspector and amounts to nothing.

Somewhere around the village is a Western-style saloon where a big man in trousers held up by suspenders serves up chai and keeps an eye out. But it is nothing more than a curious setting.

There is a woman who is unhappy in her marriage. She finds some happiness but then… 

Some films are disappointing and you know why because despite being bad, they engage. You wish they had done things better, fixed that crack, ironed out that crimp. But with some films, there isn’t any fixing. You just wish the universe would return your money and the time you wasted on them. 

Thar owes me one hour and 42 minutes and Bollywood owes us an explanation about why it keeps mollycoddling star kids even when it’s clear as day that they can’t act. 

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Thar Review: The Focus Is Squarely On Father-Son Duo Of Anil Kapoor And Harsh Varrdhan

Thar review: kapoor sr delivers a restrained performance, and kapoor jr finds himself tackling a role that appears to be right up his narrow alley. fatima sana shaikh is sultry and smouldering by turns.

Thar Poster. (courtesy: anilskapoor )

Cast: Anil Kapoor, Harsh Varrdhan Kapoor, Fatima Sana Sheikh, Satish Kaushik

Director: Raj  Singh Chaudhary

Rating: Two and a half stars (Out of 5)

As the film opens, the voice of Anil Kapoor holds forth on how the flow of the wind leaves its mark on the desert sand and on how villages are wiped out by history only to be revived by people uprooted from elsewhere. He even refers to 1947 and the Partition of India, raising visions of a sweeping saga of human struggle against the ravages of time.

What Thar , written and directed by Raj Singh Chaudhary and produced by Anil Kapoor Film and Communication Network, turns out to be eventually is a rather tame tale of retribution that pans out in a dry, barren landscape, about the only aspect of the film that has our sustained attention.

The scorched landscape, captured evocatively by Shreya Dev Dube's camera, overshadows the narrative that unfolds in its grim expanse. Criminals, opium smugglers, an antique trader, a pair of policemen and women in their domestic cages people the story, but none of them is as captivating as the eponymous desert itself.

Thar, streaming on Netflix, is set in 1985. The Rajasthan border village of Munabao, which would be a mere speck on the map but for the fact that it is a conduit for the smuggling of drugs, is a place where men have no jobs, the women exist only to warm the beds of their feckless male partners, patriarchy suppresses any possibility of change, and the police force, represented by a jaded Inspector Surekha Singh (Anil Kapoor) has precious little to do besides providing security to visiting politicians.

The tide begins to turn when the inspector stumbles upon an opportunity to prove his worth as a law enforcer. Three murders rock the village. These killings take place in the first five minutes of the film. A man is shot off the branch of a tree and tortured until life ebbs out of him. We do not see the face of the perpetrator.

In the next sequence, an about-to-be-married girl makes out with her lover under the cover of darkness. Hiding in a field, she isn't very far from home. She can hear the gunshots that kill her parents. As she rushes back to see what has happened, she catches a glimpse of the fleeing gang of gunmen.

Surekha and his associate, Bhurelal (Satish Kaushik), who is as listless as the job he does, decide to investigate the murders and find the killers - and the connection between the two crimes. But is there any? A mysterious young man Siddharth (Harsh Varrdhan Kapoor ) arrives in the village looking for a guy named Panna (Jitendra Joshi). He has paid jobs for a few workers, he says.

Panna hasn't been home for months, so Siddharth finds out where he lives. His childless wife Chetna (Fatima Sana Shaikh), informs his that her husband will be back any day. Siddharth decides to wait. He obviously cannot do without Panna.

Chetna is a woman who cares two hoots about village gossip about her. When Panna returns with his friend Kanwar (Sanjay Dadhich), the two men are hired by Siddharth right away. The duo is driven to a deserted fort on a hillock. What transpires there is beyond Panna and Kanwar's wildest imagination.

Another absent villager Dhanna (Sanjay Bishnoi) makes his way back to the village a little later. He, too, agrees to work for Siddharth only to quickly regret the decision. Siddharth isn't what he seems to be and he goes about executing a gruesome plan with a blank, deadpan expression.

The setting acquires a life of its own but the characters merely go through the motions. The air of menace and suspense that Thar seeks to create does not materialise because nothing that unfolds on the screen, no matter how shocking it is, evokes lasting emotion, which for a dark, supposedly disturbing thriller is bad news.

You do want to care about the spunky Chetna, whose husband has been away for months. You want to be invested in the shadowy Siddharth's motives. You also do want to know why three 'innocent' villagers have been slain. And you are definitely itching for more background information about the ageing inspector who sees in the sudden wave of violence in Munabao a chance to go out in a blaze of glory, a destiny that his wife (Nivedita Bhattacharya) believes he isn't cut out for.

A few scenes down the line, the film begins to resemble the location - sensory on the surface but drab under it notwithstanding the unsettling nature of the violence that is unleashed. Thar leaves many promising elements out in the sun and allows them to wither away to its own overall detriment.

The women in the story - the hardened Chetna, her blithe neighbour and young mother Gauri (Mukti Mohan) and Babita, the girl who leaves home on the pretext of visiting a temple and goes instead to meet her lover - deserved far more than what the screenplay is willing to give them.

Another chunky subplot goes abegging because the script opts to gloss over it. Bhurelal, a lower caste man who believes it is his police uniform that shields him from social discrimination, dismisses his boss's suggestion that he put his cooking skills to use and open a i. Nobody will touch the laal maans that I make.

Neither the gender dynamics at work in the village nor the ensconced caste divisions are explored beyond a point because the focus here is squarely on the characters played by the father and son duo of Anil Kapoor and Harsh Varrdhan Kapoor. Both Surekha Singh and Siddharth are nearing the end of their tether and both have a job on their hands. Kapoor Sr. delivers a restrained performance, and Kapoor Jr. finds himself tackling a role that appears to right up his narrow alley. He is hardly tested.

Fatima Sana Shaikh, sultry and smouldering by turns, has to make do with scenes that do not let her go far enough. Satish Kaushik conveys with consummate ease the frustrations and sense of resignation of a man who has learnt to survive in a discriminatory environment.

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Visually, i is an immersive film. If it does not dissolve into nothingness, it is principally because of the visual depth and range that the cinematographer imparts to the frames and the subdued but striking colour palette that she creates. Dube lends the film a distinctive veneer that often serves to disguise the unbearable lightness of the proceedings.

Thar, a film with dialogues by Anurag Kashyap, has a few sharp edges, but it promises much more than it actually delivers. Vengeance, says a character, is a double-edged sword. In Thar , it has the feel of a mirage. It is bloody all right, but is far too pale to knock us out of our wits.

Anil Kapoor, Harsh Varrdhan Kapoor, Fatima Sana Sheikh, Satish Kaushik

Raj Singh Chaudhary

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Thar (2022) Review: The Murderous Tale Of A Sleepy Desert Town

Veteran actor turned producer Anil Kapoor streams a neo-western revenge-crime thriller over Netflix titled “ Thar ”. Set in the Great Indian Desert which is also known as the “Thar Desert”, the film has been written and directed by Raj Singh Chaudhary , and features Anil Kapoor and his son Harshvardhan Kapoor in the lead roles.

Thar (2022) Synopsis:

During 1985, in the vast and rocky sand-laden desert of Thar, horror unfolds in an India-Pakistan border town named Munabao in Rajasthan, India. The small desert town witnessed the arrival of a shady stranger named Siddharth Kumar ( Harshvardhan Kapoor ) who presented himself as an antique dealer to the locals. His arrival coincided with the occurrence of a couple of heinous murders in the town that may or may not be connected with him.

This made Siddharth a point of interest for the local police. Inspector Surekha Singh ( Anil Kapoor ), an aging local cop, grabbed hold of this opportunity to prove himself as a competent police officer in the eyes of his department. Surekha Singh’s uneventful existence during his career as a cop was brought back to life as he set out to explore horrifying torture and murder mystery within the sleepy desert town. As he investigated the gruesome and violent murders, he crossed paths with Siddharth which prompted him on a mission to uncover the mystery of this suspicious stranger’s tragic past.

Thar (2022) Official Trailer:

Anil Kapoor Strikes The Screens With His Son Harshvardhan Once Again!

The father and son duo has made a revolutionary come back to the big screens. Thar was a much-anticipated movie and was all over Bollywood reports for quite some time. The first movie of Anil Kapoor with his son Harshvardhan was AK Vs AK (2020) which I had reviewed some time back. In AK Vs AK, Harshvardhan had a short role but now in Thar, he is the lead protagonist alongside his father. I must say, this star kid is all set to strike it big in Bollywood in the near future.

A Story Which Is Cruel And Compelling At The Same Time

The story of Thar involves some thrilling as well as horrifying elements which will grab your attention, and keep you engrossed. A small shady border town plagued with a series of heinous murders, a mysterious stranger named Siddharth Kumar who arrives in that town all of a sudden, bloody and decaying dead bodies of the torture and murder victims, and the police investigation conducted by Surekha Singh and his team in an effort to uncover the murder mystery; all of these elements within the storyline of Thar are sure to instill thrill to the brim and keep you engrossed till the end of the movie.

The Setting Amplified By A Visually Arresting Cinematography

The setting of Thar is what stole the show! The vast, sandy, and rocky desert landscape stretched as far as the eye can see, and the bare trees providing meager shades provoked the essence of an implacable and harsh beauty. I must tell you that the starkly beautiful landscapes and the gripping atmospherics in Thar were coupled with a haunting soundscape as frequent storms are evident in the region. These fascinating sights and frightening sounds of the desert coupled together will indeed create a hair-raising viewing experience.

The retro cinematography of Thar , set in the 1980s western desert landscapes of India, by Shreya Dev Dube was very appealing. Her camerawork added texture and substance to this crime-thriller by gliding over the vast expanse of the parched desert land. The camerawork precisely captured all details of a retro Indian desert town environment such as the blazing lights of the desert, old houses with overlooking balconies, and armed men on galloping horses. Some of these breathtaking sequences looked amazingly real to me. I must confess that I am very much pleased after seeing the cinematographic masterwork in Thar as the scenes in this movie remind me of the 1975 blockbuster action-adventure film Sholay whose sets and locations were one of a kind.

Great Dialogues

The dialogues in Thar written by Anurag Kashyap do stand out. Anurag Kashyap is one of the best filmmakers in Bollywood and one can expect him to conjure emotions through his clever lines. The dialogues in the movie are hard-hitting and upon hearing them, I do feel that they challenge the socio-political status quo and cast discrimination prevalent in the Indian society. I hail Anurag Kashyap’s dedication and courage in raising social awareness through such dialogues in this movie.

Harshvardhan Kapoor’s Blank Expressions

Raj Singh Chaudhary with his direction has successfully set a shady and gloomy mystery mood throughout the narrative of Thar . However, along with the gloomy narrative, he has given a gloomy, hollow and vacant look to Harshvardhan Kapoor ’s character Siddharth as well.

Harshvardhan as Siddharth has been portrayed as a mysterious and shady young man whose lifeless and blank expressions throughout the movie are enough to get on your nerves every minute! Moreover, he has been shown using the nastiest possible torturing techniques on a local gangster named Panna (Jitendtra Joshi) in one scene.

However, I feel that rather than this torture which he practiced on his victim in the movie, he has kept the worst in his bag for the audience who are sure to get annoyed and frustrated after watching his lifeless expressions throughout the movie’s run duration. But what could the poor dude do? Chaudhary’s script itself might have demanded his character to be like that!

Harshvardhan Kapoor is the lead protagonist in Thar. However, his father Anil Kapoor as inspector Surekha Singh outshone him in terms of screen presence. Anil Kapoor’s aging police officer character has been shown to have a love-hate relationship with his life and his authoritative performance throughout the movie is commendable. In Thar, inspector Surekha has been shown struggling to find value and meaning in his years of service as a police officer. In spite of this, he uncovers the murder mystery with ease. Anil Kapoor is indeed a charismatic actor. In terms of dialogue delivery in an extremely tough local dialect along with maintaining a particular body language throughout the film; he simply nailed it!

An Underwhelming Screenplay

The crime-based screenplay of Thar can shock you at first with two or three violent crime scenes. But as the story proceeds, the violent scenes get repetitive which makes the narrative lose its sheen. The screenplay involves some action sequences too, where in one scene you can see a Land Rover flying through the air which is very common in Bollywood movies.

The screenplay is engrossing as the investigation proceeds, and inspector Surekha along with his comical deputy officer Bhure ( Satish Kaushik ) proceeds to uncover the murderer. However, the overall show lacks twists and turns which invokes predictability. This in turn may leave the audience unsatisfied and wanting more thrills.

I personally believe that there could be nothing worse than a movie that decides to join all the dots in its final moments. That’s what Thar did! This last-minute joining up of all the aspects brought an essence of laziness in the storytelling which direly opposed the movie’s carefully constructed narrative.

Besides in this heavily male-dominated script of Thar , all the female characters were half-baked including Fatima Sana Shaikh ’s character of Siddharth’s love interest, Chetna. I feel Fatima Sana Shaikh has the potential to perform better in more prominent roles and she really deserves much better than this.

May Not Be Suitable For Certain Audiences

The storyline of Thar is cruel where multiple extended gruesome scenes of violence and torture have been shown. The graphic brutal torture and murder scenes in the movie are coupled with the bloody and gory dead bodies of the victims hanging from ceilings, and not forget, the violent gang rape and murder of a woman where her nerve-racking and terrifying screams and close-up shots transformed this Western crime-thriller into a sort of torture porn.

The assault and rape scene was drastic which is shown towards the ending of the film when the murder mystery began to unfold. A gang of drug-addled robbers has been shown entering the woman’s house and she unknowingly interrupted them during the robbery. Following this, the men overpowered her and brutally assaulted and raped her. The camera was focused entirely on her which portrayed the height of her suffering and amplified the humiliation she endured during the assault. I must admit that the violence and brutality shown in Thar were too much and this makes the movie unsuitable for everyone to view.

The brutal gang rape and murder of this woman was led by a local gangster named Panna (Jitendra Joshi). The story goes on the reveal that the woman was actually Siddharth’s wife. To avenge her death, Siddharth got romantically involved with Panna’s wife Chetna ( Fatima Sana Shaikh ) so as to make matters worse for Panna. He captured and tortured Panna and later on, killed and burned him in front of Chetna to avenge his wife’s death. As Panna faced his nightmarish death at the hands of Siddharth, it was also revealed that his wife Chetna was six-month pregnant with Siddharth’s child! A true act of vengeance indeed!

The Verdict:

Upon watching Thar , I can feel that Bollywood has started developing international standards in many of its filmmaking aspects. This punchy and nihilistic western-style revenge-crime thriller has hints of Sergio Leone’s filming style and Cormac McCarthy’s borderland paranoia! The best thing about this movie is that it is not bundled with unnecessary song and dance sequences which most Bollywood movies are. This gives Thar a fairly compact screen time of a little more than 2 hours. The credit also goes to Aarti Bajaj’s precise editing skills which kept the flow of the film along with making it compact and less monotonous.

However, the ending of Thar is fairly misleading. Siddharth was shown being shot in his belly by Chetna just as he was about to surrender himself to inspector Surekha. Siddharth was the man behind the gruesome murders and he did them for a reason. The woman who was brutally raped and murdered was his wife and he had come to the small desert town to avenge her murder and punish the murderers. However, Chetna shot Siddharth as he had betrayed her into loving him and had killed and burned down her rapist husband in front of her eyes along with impregnating her with his child. But the ending doesn’t really show Siddharth dying and chances remain that he could be alive for a sequel! The fact is that he was only shot once in the belly and as you know being shot in the belly doesn’t result in immediate death. In fact, he might have become unconscious.

The climax of Thar resembles those films which involve intelligent storytelling to keep the audience guessing. I agree that keeping the audience guessing is an art and part of the thrill, but keeping them guessing just for the sake of it is what you call “bland” filmmaking.

The movie Thar is all about desert, dacoits, menacing darkness, and brutal violence. Apart from Anil Kapoor’s character of inspector Surekha, most of the prominent male characters in Thar including Siddharth have a typical “bad guy” existence. To conclude, I must warn you that if you cannot stand graphic violence and assault, this movie is not for you!

• Acting - 6.5/10 6.5/10
• Cinematography/Visual Effects - 9.5/10 9.5/10
• Plot/Screenplay - 5.5/10 5.5/10
• Setting/Theme - 9/10 9/10
• Watchability - 5.5/10 5.5/10
• Rewatchability - 4.5/10 4.5/10

User Review

About Subhadeep Kumar Ganguli

Meta film critic. Never make the same mistake twice. Make it three or four times just to be sure 😉

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Thar movie review: Anil Kapoor outshines his protagonist son Harsh Varrdhan in this Saw sequel masquerading as a Western

Thar movie review: anil kapoor outshines son harsh varrdhan kapoor in the film, which begins as a western set in rajasthan but soon descends into torture porn genre..

A mysterious young man with an unwashed look about him walks into a small town scorched by the sun and covered in a thick layer of dust. He catches the eyes of all in town: the docile wives of absentee husbands and also the wise ol' sheriff who is hunting for a murderer on the lurk. Director Raj Singh Chaudhary tries his best to bring in all the usual tropes of a Hollywood Western to Thar: the early setup of the plot and its characters, the slant roof houses that are more 1930s Texas than Rajasthan, the saloon style dhaba that is only missing a spittoon at the door, dreaded dacoits, their horses and even police chases through wild, barren lands. A simple homage is also paid to perhaps the greatest desi Western ever made, Ramesh Sippy's Sholay. Also read: Anil Kapoor says son Harsh Varrdhan Kapoor is the star of Thar: 'Hum to aise hi supporting actor hain'

Unfortunately, Thar's Western aspirations dwindle quite drastically midway as it enters a completely different, torture porn genre. There is not much left to salvage after that. The Western theme of revenge is still at the heart of the film. However, the treatment of it appears so lazy by the end, that I can't really applaud it for sticking to it. A woman is shoved deep into the fridge just when you thought you witnessed a different-than-usual female character, and the final reveal is literally handed over to the viewer in one of the laziest pieces of writing in a long time. But the journey to the lazy end wasn't pleasant either. Thar's middle is filled with such long scenes of torture and gore, you almost expect a clown ventriloquist doll to come riding down the hall on a tricycle. Things take a turn for the horrible and unwatchable with the flashback scene at the very end. Horrifying sounds effects are introduced to add to the 'impact' of the torture and none of it leaves you for a long while. And not in a good way at all.

Despite the no-fun gore, Thar is mostly watchable for the ambience it creates and performances of its lead cast. The film's mysterious new man in town is played by Harsh Varrdhan Kapoor , who has never been disappointing really but his KRA this time is 90% brood in the distance and 10% angry reaction shots. He gets 100% appraisal rating from me though for delivering well on whatever little was asked of him. The better-written roles went to Anil Kapoor and Fatima Sana Shaikh, from the self-proclaimed 'supporting cast'. Anil Kapoor easily sells the wise but beaten inspector, hungry for a promotion and adventure in his usually silent, peaceful town. He commands respect from the townspeople and also you, watching him on your Netflix app. Never over-playing or downplaying any moment, Anil shows just how much he has matured at ably handling the tempo of his performance over the years. He knows when it's just enough to have tears fill up your eyes and stare at the ceiling and at your future, stuck in the rut of an uneventful life. He also knows how to convincingly sell that he loved his loyal constable's lal maas recipe. Anil deserves even more love than we give him. Fatima Sana Shaikh doesn't quite look like the Rajasthani village belle, but does well as the timid wife who knows when to grab an opportunity. She gets more room than Harsh Varrdhan to spread out her feet, be shy, forthcoming and even terrified.

Chaudhary and gang needed to polish the end a bit more, let the detective and the audience arrive on it rather than serve them the answer on a platter. And to be honest, the inspiration for revenge could have definitely been less reminiscent of Rajiv Rai movies from the 90s, overall. The whole subplot about dacoits and drugs is so needlessly tied in and left out, I still don't understand the purpose of it other than serving as a very taxing diversion.

However, Thar does deliver well on the mood. Almost exclusively shot during high sun or late night, it drills in the arid, dry and hopeless feeling. I do wonder if missed the significance of Thar as anything more than simply a setting for the story. Why is the entire film called Thar? Saw: The India Chapter could be better. How about Mohra 2? But let's be honest, no one can beat the 'Naseeruddhin Shah isn't blind' climax reveal for another 20 years.

Soumya Srivastava is Entertainment Editor at Hindustan Times. She writes about movies and TV because what else is there to life anyway. ...view detail

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Thar movie review: Anil Kapoor and the atmospherics make it work

Anil Kapoor’s quiet charisma and innate appeal keep the film going even when its writing enters shallow waters.

Language: Hindi  

There’s a scene in Thar when Surekha Singh, played by Anil Kapoor, is heading out of home for an investigation. Surekha is a police inspector in a seemingly peaceful border town. “Don’t try to be a supercop… Come back alive, okay?” his wife Pranati (Nivedita Bhattacharya) says. “I’ve been hearing this for 25 years now. ‘Come back alive. Come back alive.’ It’s probably this effort to come back alive that has kept me from getting a promotion so far,” Surekha shoots back. “A promotion that gets you dead is of no use,” she replies.   

This conversation sums up Surekha’s uneventful existence so far. The sort that could describe vast swathes of humankind – skating along, somewhat dissatisfied but not enough to lift himself out of his inertia to take risks, staying safe, and as a consequence, staying alive. Pranati is the yin to his yang, satisfied with simply surviving and with the minor rewards, such as the respect and fear of the community, that her husband’s unremarkable career brings.

The couple and their son reside in Munabao in Rajasthan just a stone’s throw from Pakistan.

Nothing much happens in Munabao until a good-looking stranger (Harshvarrdhan Kapoor) enters the picture in 1985. This enigmatic outsider’s arrival coincides with a couple of heinous crimes that may or may not be connected, which obviously makes him a person of interest for the local police. His air of mystery, his reticence and the monetary gains he offers make him a person of interest for the local population.

Thar is about the secrets and horrors that lie beneath a surface of apparent small-town monotony – criminal networks that thrive because law enforcement does not bother to dig deep unless compelled to do so in response to overtly disruptive activities, the terrible crimes that seemingly ordinary folk are capable of, sexual permissiveness that rages below the façade of ghoongats , social institutions and conservatism, and women in despair. Above all else, it is about the price that vengeance extracts from all parties involved.     

Director Raj Singh Chaudhary employs the stark beauty of his locations and Shreya Dev Dube’s watchful camerawork along with the evocative music by Shashwat Sachdev (who is credited for the spirited title song) and Ajay Jayanthi to build an atmosphere of intrigue across the burning sands of the Thar. That giant beast lying motionless in the sun, an image that runs as a continuous thread throughout the narrative, appears a bit too arranged and too studied an effort to symbolise the decaying, unobtrusively rotting society of Munabao. Abundant compensation comes, however, in the form of the rest of Thar ’s brooding, picturesque visual landscape.   

Kapoor Senior’s quiet charisma anchors the narrative and the awareness looming over it of the volcanic unrest simmering below the appearance of inactivity in Munabao.

In this and most other respects, Thar is not a conventional Hindi film. What makes it even more uncommon is the repeated reference to casteism, coming as it does from an industry that has, for a couple of decades now, largely pretended that the caste system does not exist.   

It is also unusual to see a Hindi film in which Pakistan, cross-border activity and even crime are crucial elements yet are not used to shout slogans about the “ dushman desh ” or to demonise that “ dushman ”. Thar is about the enemy within and without. And although it is not stated in black and white, considering the geographical location,  there is much to be read into the film’s stated position about the all-consuming nature of revenge and the price it extracts from those who seek it.

Thar is clearly an ode to the spaghetti Western genre. To leave us in no doubt about this, a tribute to Sholay is thrown into a conversation.   

The director, Chaudhary, had earlier made 2021’s Shaadisthan , which, to quote my review, was “a cringe-worthy thesis on feminism”. Thar is so vastly mature in comparison that it is hard to come to terms with the fact that the same individual helmed it. Chaudhary has written the screenplay (additional screenplay by Yogesh Dabuwalla and Anthony Catino) while the dialogues are by Anurag Kashyap. Women are nowhere near the forefront of Thar , but they are not marginal either, and they are certainly far removed from the caricature that the leading lady of Shaadisthan was.

With so much holding it together, Thar is nevertheless let down by its failure to lend substance and, hence, relatability, to the perpetrator of the crimes Surekha has to solve. In a bid to keep the suspense going, the writing team reveals so little about this person so late that it is impossible to feel invested in their motivations and pain.

As the plot moves forward, this limitation holds Thar back from fully living up to its potential and gripping atmospherics.   

Despite being the producer along with Harshvarrdhan, Kapoor Senior does not monopolise the screen, which is commendable. The younger Kapoor, his son, has a naturally sweet personality but is not challenged to do anything beyond deadpan his way through the film and look likeable.

Of the supporting actors, Satish Kaushik is endearing as Surekha’s physically unfit, lower-caste colleague, and Mukti Mohan makes an impression in a small role as a feisty wife.

The cast has many impressive talents but none quite as arresting as Anil Kapoor whose innate appeal seems to increase with each passing year. As the weatherbeaten officer who is far smarter than his rank would suggest, he keeps Thar going even when its writing enters shallow waters.   

Anil Kapoor is reason enough to watch this well-mounted thriller.

Rating: 2.75 (out of 5 stars)  

Thar is streaming on Netflix

Anna M.M. Vetticad is an award-winning journalist and author of The Adventures of an Intrepid Film Critic. She specialises in the intersection of cinema with feminist and other socio-political concerns. Twitter: @annavetticad, Instagram: @annammvetticad, Facebook: AnnaMMVetticadOfficial  

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2022, Action/Crime, 1h 48m

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Thar   photos.

Siddharth, an antique dealer scouts old, abandoned forts in a remote Rajasthan village. The region has recently been rocked by a series of violent killings. As the local cop Surekha Singh investigates these killings, he crosses paths with Siddharth and soon realizes that the ruggedly handsome antique dealer is not who he seems and that his intentions may be far more devious.

Genre: Action, Crime, Drama, Mystery & thriller

Original Language: Hindi

Director: Raj Singh Chaudhary

Producer: Anil Kapoor , Harshvardhan Kapoor

Writer: Raj Singh Chaudhary , Anurag Kashyap

Release Date (Streaming): May 6, 2022

Runtime: 1h 48m

Production Co: Anil Kapoor Film Company, The Crew Rajasthan

Cast & Crew

Anil Kapoor

Harshvardhan Kapoor

Fatima Sana Shaikh

Satish Kaushik

Sanjay Bishnoi

Sanjay Dadhich

Rahul Singh

Khaavar Khan

Raj Singh Chaudhary

Anurag Kashyap

Screenwriter

Shreya Dev Dube

Cinematographer

Aarti Bajaj

Film Editing

Ajay Jayanthi

Original Music

Production Design

Art Director

Priyanka Agarwal

Costume Design

Gautam Kishanchandani

Critic Reviews for Thar

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Thar movie review: Anil Kapoor owns the show in this visually stunning Netflix crime drama that's marred by predictability

Twin murders in a rather uneventful village leaves a police inspector digging deep into the criminal underbelly of the place with a mysterious man becoming the prime suspect.

• Raj Singh Chaudhary
• Harsh Varrdhan Kapoor,
• Anil Kapoor,
• Satish Kaushik,
• Fatima Sana Shaikh
• Crime drama

Bollywood may not be dominating cinemas in the post pandemic world, but it surely keeping up its lockdown record of churning out promising OTT originals. Anil Kapoor and Harsh varrdhan Kapoor starrer Thar has now joined the league of impressive digital releases with its arrival on Netflix .

Raj Singh Chaudhary directorial may not be perfect, but the stunning visuals and Anil Kapoor’s thrill-seeking character keeping you hooked till the end.

In Munabao, a remote village in Rajasthan, nothing interesting ever happens. However, a series of gruesome murders follow the arrival of an unknown city man who maintains an air of mystery.

A soon to retire cop, Surekha Singh (Anil Kapoor) gets on the case with his accomplice Bhure ( Satish Kaushik ) as the two instances of murders in the village seem to have common link – opium trade. The new stranger in town ( Harsh Varrdhan Kapoor ) becomes a suspect as he goes around the village with a job offer and knocks on the door of one man, Panna (Jitendra Joshi). He also forms an unspoken bond with his wife Chetna (Fatima Sana Shaikh).

What follows is a gritty crime drama with the true motivations of Harsh Varrdhan’s character remaining shrouded in mystery till the very end. While Surekha and Bhure’s search for answers exposes the criminal underbelly of drug operations, the piece of the puzzle that doesn’t fit is this mysterious man who says he deals in antiques and employees three men who are potentially linked to drug trade.

The screenplay and the setting of this crime drama does half the job for Raj Singh Chaudhary, as it draws you into the story. The rotting corpse of a buffalo in the middle of the desert signifying the rotting core of this seemingly peaceful village, to the beauty and silence of the vast and empty Thar captured in sharp contract to the grisly murders and brutal torture, all blend in to capture your attention.

For the, other half, the plot fails where it tries to stretch the mystery till very last minute. Harsh Varrdhan’s character and Anil’s character occupy most of the screen time, with Fatima and Satish’s characters getting most of what’s left. While all actors make the most of their time on camera with splendid performances, the narrative gets frustrating after a point as it becomes hard to relate to Harsh Varrdhan’s character who is a man of a few words and the viewer is dragged along with him from place to place with no inclination on the part of the filmmaker to give answers.

Of course, various scenarios course through your head to understand what this primary character is up to and why. But by the time it is deemed fit to provide answers, the plot has already crossed the line to predictability.

Another thing that baffles you is the time in which the plot is set. Thar takes you back to 1985 to narrate this crime drama, but the significance of this time period to plot is lost on you. The story is such that it could have been set in any time period but you wonder till the end if there’s something about the era associated with the film that you missed.

Anil Kapoor does a splendid job playing a man who craves to prove himself as an inspector at the verge of retirement and rises to the occasion when the opportunity presents itself. Harsh Varrdhan, on the other hand, has little room to put his acting chops on display with the mystery surrounding him in the film engulfing opportunity.

Fatima Sana Shaikh’s character blossoms beautifully while Mukti Mohan’s feisty avatar makes it an impressive debut for her. Jitendra Joshi aces his part as Panna, while Satish Kaushik’s adept performance leaves you impressed.

Raj Singh Chaudhary's screenplay and additional screenplay by Yogesh Dabuwalla and Anthony Catino, deserve a special mention for setting up this noir film which feels like a perfect ode to the cowboy films of the West. Anurag Kashyap 's dialogues never go over the top to make the already packed narrative melodramatic and perfectly match the setting and tonality of the film.

Thar is visual extravaganza which could have been extraordinary had the plot been treated with equal care as the scene setting. However, despite the predictability, it a film that won’t make you feel like you wasted your time or disappointed.

• Anil Kapoor
• Anurag Kashyap
• Harsh Varrdhan Kapoor
• Satish Kaushik

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Home » Movies » Bollywood Movie Reviews

Thar Movie Review: Not As Bad As It Could’ve Been, Not As Good As It Wants To Be!

Harsh's sidharth uses the nastiest of torturing techniques on jitendra joshi's character, but he keeps the worst of them all to use on those who'll watch this film.

Star Cast: Anil Kapoor, Harsh Varrdhan Kapoor, Fatima Sana Shaikh, Mukti Mohan

Director: Raj Singh Chaudhary

What’s Good: You would want to stay back amid the barren lands of Thar, but only if someone narrates an interesting story!

What’s Bad: More than Anil Kapoor, Harsh Varrdhan Kapoor, this would prove to be a really bad move for Netflix here!

Loo Break: Even though it’s not a 2-hour film, you’ll have to take a forced loo break!

Watch or Not?: Even if you’re dead bored, you’d have to rethink before jumping into this multiverse of boredness

Available On: Netflix

Runtime: 108 Minutes (feels like 1080 minutes)

The year is 1985, we’re in Munabao, a city known to have the ‘India’s last railway station’ situated in Rajasthan just at the India-Pakistan border. With a handful of population and one dead Yak, the people of Munabao are quite into themselves and (im)balanced for having a patriarch violent husband, a dominating-on-bed wife going “yeh dil maange more” on her husband, a police officer who wants to do ‘asli police ka kaam’ & a stranger from the city (who looks like he’s here to f*ck around with the girls of the village) looking for labour work.

Let’s join the dots to make it clearer for you, Sidharth (Harsh Varrdhan Kapoor) is the stranger who deals in antiques and is in Munabao to hire people for labour work. Surekha Singh (Anil Kapoor) is the policeman who has the gut feeling that Sidharth will make some sh*t happen, and it may or may not be connected to some graphically brutal murders happening in Munabao. I lost the track after the 985th minute, as all this happens for some 1000+ minutes.

Thar Movie Review: Script Analysis

Raj Singh Chaudhary takes a leaf or two from the book Sergio Leone and manages to set a proper gloomy mood throughout. But, the problem is he fails to build an equally intriguing narrative to support the feel of the film. Abhishek Chaubey had successfully balanced to achieve both in Sonchiriya and that keeps Thar killing minute after minute. Harsh’s Sidharth uses the nastiest of torturing techniques on Jitendra Joshi’s character, but he keeps the worst of them all to use on those who’ll watch this film.

Shreya Dev Dube remains to be the MVP of the film for capturing some breathtaking sequences, which almost suffocates you for being so amazingly real. Aarti Bajaj does her best to keep this to just 108 minutes because even a minute more would’ve increased the duration (of the ordeal to go on without making much sense).

Thar Movie Review: Star Performance

Anil Kapoor’s attempt at playing a police officer having a love-hate relationship with his life is a commendable one. He flawlessly whisks to manage an extremely tough dialect & maintains a particular body language all the time.

On the other hand, Harsh Varrdhan Kapoor continues to choose uni-dimensional characters, which are extremely solid on paper and equally lifeless on-screen. He’s yet to possess the power to imagine how he’ll look on-screen after reading his role.

Fatima Sana Shaikh can’t emote as good as she recites her dialogues. I know it’s a strange analogy, but follow me when I say she’s a treat to your ears but not for your eyes. Don’t get me wrong, she’s extremely pretty but fails to expand the range to express herself. Mukti Mohan gets an extremely unimportant role to get noticed, which she plays earnestly.

Thar Movie Review: Direction, Music

Raja Singh Chaudhary makes a film that ‘tries’ to make sense but fails to actually make it. Being the captain of the ship, he takes too many rough turns as far as the storytelling goes. But, he faces the dilemma of how to build intriguing storytelling when you don’t have an intriguing story to tell?

Ajay Jayanthi’s background score manages to pack in some chills and could’ve garnered great acclaim if it was used for the right story.

Thar Movie Review: The Last Word

All said and done, the best thing about Thar is we won’t have to get ready, go out, spend money and sit for 2 hours in a theatre to go through what it offers.

Thar Trailer

Thar releases on May 6, 2022.

Share with us your experience of watching Thar!

Not into dark dramas, for some dark-scifi read our Doctor Strange In The Multiverse Of Madness Movie Review.

Must Read: Jersey Movie Review: Shahid Kapoor Hits A Century To Be Remembered For Centuries, Thanks To His Dream Team!

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Thar Movie Review (2022)

Raj singh chaudhary's 'thar', on netflix, is a neo-western that sets up an interesting premise and does very little with it.

Thar Movie Cast & Crew

The lay of the land is laid out in the most brilliantly poetic fashion in Thar , a kind of neo-Western directed by Raj Singh Chaudhary. (The voiceover-words are dazzling, and I suspect this is why we get the thank-you card to Gulzar.) Anil Kapoor plays the ageing-Sheriff equivalent, an inspector named Surekha Singh. He is stuck in this one-horse border town in Rajasthan, and he isn't entirely happy about the lack of upward mobility in his career. But his wife is relieved that all he has to do is solve petty crimes, nothing dangerous. Besides, she knows he cannot deal with hierarchical politics. Their son, however, says he will study for the IPS exam, become a cop, and lord over his father. These little "character touches" paint a picture of a man who is s o not prepared for what's about to happen.

Someone is butchered and killed. A couple is shot dead while their daughter is making out with her lover. Things are stolen. Anurag Kashyap is the dialogue-writer. His delightfully vulgar phrasings add a ton of flavour to the classically visualised narrative, which is painted in the colours of the desert. Every image, right down to the costumes, is colour-coordinated with the Thar. There isn't one colour that clashes. This is a gorgeous-looking movie, and this makes the ugliness at its centre even more ugly. Going back to the Western analogies, Harshvardhan Kapoor plays the mysterious stranger in town, and the typical "saloon" is replaced by a teahouse. Satish Kaushik plays the Sheriff's sidekick, who is as unprepared as his master to smoke out the culprit.

The premise is interesting especially in the set-up stage, and unlike the old-time Westerns, there is some social commentary scattered throughout. The patriarchy blames the woman for a couple's childlessness. A man slaps his wife for allowing a stranger to visit their home when he was away. ( It's a sawaal to his izzat .) There are a few lines about oppressed castes. Dacoits used to belong to these castes, and even today, a man belonging to these castes is shunned. Let's say he opens a teashop of his own. He'd end up with no patrons. The film even touches on the general lack of education in these parts, which makes a literate man stand out.

The narrative is woven from two strands. The first is whether Anil Kapoor will crack the case. The second is what the Harshvardhan Kapoor character is really after and why, especially when we see the things he does. (When we do find out, it's utterly underwhelming.) And in between, we have opium smuggling across the border, back and forth. A man named Hanif Khan is presented as the poster-boy smuggler, but none of these characters or situations (like an affair we see early on) are written with any depth. And without any help from the writing, no one apart from veterans Anil Kapoor and Satish Kaushik is capable of fashioning at least the semblance of a flesh-and-blood person on their own. Harshvardhan Kapoor and Fatima Sana Shaikh appear miscast in this milieu. Their characters do not register the rage inside them. The only aspect detailed with care is the graphic violence.

I think the makers were going for a slow-burn Chinatown -styled narrative, where you peel off one layer and there's another, and you peel off that layer and there's yet another. Also, there's the plot point about a man who sets out to solve a case and gets overwhelmed by the circumstances. But one, there are not all that many layers, and two, the layers that do exist aren't terribly interesting. The writing is as spare as the desert, clean and uncluttered – but this lack of texture also robs the story of momentum. The segues between one scene to the next seem airless and still, while they should really be accelerating at least in our minds (if not on screen). This is not about feeling for the characters, but about being involved with them or invested in their fate. By the time Thar winds down, you are left with more questions than answers. But well, at least the film looks beautiful!

About Author

Baradwaj Rangan

National Award-winning film critic Baradwaj Rangan, former deputy editor of The Hindu and senior editor of Film Companion, has carved a niche for himself over the years as a powerful voice in cinema, especially the Tamil film industry, with his reviews of films. While he was pursuing his chemical engineering degree, he was fascinated with the writing and analysis of world cinema by American critics. Baradwaj completed his Master’s degree in Advertising and Public Relations through scholarship. His first review was for the Hindi film Dum, published on January 30, 2003, in the Madras Plus supplement of The Economic Times. He then started critiquing Tamil films in 2014 and did a review on the film Subramaniapuram, while also debuting as a writer in the unreleased rom-com Kadhal 2 Kalyanam. Furthermore, Baradwaj has authored two books - Conversations with Mani Ratnam, 2012, and A Journey Through Indian Cinema, 2014. In 2017, he joined Film Companion South and continued to show his prowess in critiquing for the next five years garnering a wide viewership and a fan following of his own before announcing to be a part of Galatta Media in March 2022.

Thar Movie News

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Release date: 06 May, 2022

THAR is the story of mysterious happenings in a faraway town. The year is 1985. In the town of Munabo, Rajasthan, a gang attacks a house, where the daughter is about to get married in a few days. The girl’s parents are killed while their wealth is stolen away by ...  the gang. The next day, a man called Suwa (Akkshay Gunaawat) is tortured to death. Inspector Surekha Singh (Anil Kapoor) is given the charge to solve these cases. With the help of his colleague Bhure (Satish Kaushik), he goes about investigating and trying to find if there’s any connection between the two killing episodes. Meanwhile, Siddharth (Harsh Varrdhan Kapoor), a mysterious man arrives in Munabo. He is an antique dealer, based in Delhi. He needs trained men for his work and his search takes him to the house of Panna (Jitendra Joshi). However, Panna is away in Calcutta, leaving his wife Chetna (Fatima Sana Shaikh) behind. An attraction develops between Panna and Chetna. Meanwhile, Surekha finds out through his investigation that the murders are related to the illegal opium trade and that players from Pakistan are also involved. What happens next forms the rest of the film.

Photos (46)

Fatima Sana Shaikh, Harsh Varrdhan Kapoor

Videos (14).

Anil Kapoor: “Agar meri fitness dekhni hai to dusri…”| Thar | Harsh Varrdhan Kapoor | Fatima Sana Shaikh | Satish Kaushik

Articles (9).

Photos: Anil Kapoor, Satish Kaushik, Anupam Kher and others snapped at the special screening of Thar

Thar: official trailer 2 | anil kapoor, harsh varrdhan kapoor, fatima sana shaikh | netflix india.

Anil Kapoor reacts on Anil Kapoor memes | Thar | Netflix India

“Anil sir, can I send my husband to your fitness class?”- Anil Kapoor reacts to this | Rapid Fire

Anil Kapoor and Harshvarrdhan Kapoor Unfiltered | Thar | Netflix India

Fatima Sana Shaikh: “I’ve been bad judge of people, so I don’t…”| Rapid Fire

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