Tumbbad is like a rare gem from the grandma’s treasure box of mythical stories
Remember how we all loved the epic tales our grandparents narrated, Tumbbad is that nostalgia, a story that you will hear with the same enthusiasm and fascination like an eager kid.
It narrates the great Indian folklore and fables decorated with distinctive visuals, and if fictional history is this fascinating, then we want more.
Finally, an Indian horror film that can be truly called Indian.
Watch it If you like -
The whole 1900’s feel and set up is superb. Locations are heavenly. Performances are good. Balanced dose of fiction, fear and drama.
But Beware of -
Not for the pigeon-hearted, Story lacked growth and yet it whispered a lot when it comes to meaning
Read Detail Review
Director Rahi Anil Barve and co-director Adesh Prasad’s first film, backed by Eros, Colour Yellow Production, actor and co-producer Sohum Shah’s production, will be a trendsetter for the kind of genre it has presented and for the transformation it has given to Indian horror films.
But more than the captivating story, it is the astonishing attempt by the makers to create an atmospheric and visually stunning world of real and unreal, greed and need, good and evil.
Alekh (Story) – Patkatha (Screenplay)
Its 1918, and writers Mitesh Shah, Adesh Prasad, Rahi Anil Barve and Anand Gandhi show a mystifying cursed village, and their focus seemed clear from the very first scene, to be unique and to show the unbelievable.
With a mythological story about a goddess who created the entire universe, the plot of the film revolves around the consequences when humans build a temple for her unkind first-born son and there you are, arrested and vested in the movie.
It is kind of an adventure heist cross-bred with Indian epics, mythology, history, folklore, and fables. And this fable is not only visually fascinating but haunting as well.
Though there is not much in the story, depth or growth wise, but the intent behind the story is worth-watching. And that gets explained with the movie’s start that mentioned a quote by Mahatma Gandhi, “The world has enough for everyone’s need, but not enough for everyone’s greed,” and ending that suggests how “greed finds only greed”.
Also, though the second half cold have bee more gripping like the first, but the imaginative height the movie reaches is commendable. Defying cliched horror standards, the film goes Indian with its own history and culture.
More than the story and script, it’s the outstanding cinematography, the location, the authenticity, the realism and literally the creation of 1900’s era right in front of us, that keeps us on the edge of our seats. Also trying to show 30 years in a few hours of time is a task well-achieved in the film.
While every scene is a dreamy frame, there are ones that are ugly to watch but then that’s what added fear to the script.
Performances were too true, should have stayed while the end credits rolled to jot the names, and mentioned eacha nd every one of them. Anyhow, Sohum Shah is first rate. Mohd Samad as his son in the film is a champion.
Geet Sangeet (Music)
There couldn’t have been a better haunting and atmospheric music to this film.
Nirnay (FilmyCurry Verdict)
It’s unique, It will be a trendsetter.
Has its fixed audience but can be liked by many others for the attempt, effort and thought to make something different.