Yaara Review: Tigmanshu’s film doesnt seem to make many ‘yaar’ from audiences

This is not the film of Tigmanshu Dhulia with Haas and Paan Singh Tomar. He is nowhere in creativity and passion. Well this was not possible because this story of four friends is inspired by a French film, which somehow does not find rum in the desi soil.

Yaara Review 2.5 star/ 5

Crime Drama

Director : Tigmanshu Dhulia

Artists : Vidyut Jamwal, Amit Sadh, Vijay Verma, Shruti Haasan, Kenny Basumatare

Barring the National Award winning Pan Singh Tomar (2012) and Saheb Biwi and the first two episodes of the gangster series (2011-2013), the films of director Tigmanshu Dhulia were never successful. His account has a long list of films rejected by the audience. Now you include Yara in these failed films as well. In 2011, director Olivier Marseille’s French film Las Luyune (A Gang Story) is the story of four gangster friends. Dhulia has hindered it.

The film has been released on Zee5. I do not know the original film, but in Yara, Tigmanshu does not get the color of friendship. It becomes a formulaic story. Which usually has no meaning for cinema nor for the audience. There is neither entertainment nor message. Wants to leave the film in between.

In Yara, four children step on the threshold of youth hiding and hiding in the world of crime. This quartet commits crime and succeeds everywhere. In the Masala story, Tigmanshu again instigates Naxalism and tries to do some politics. But this does not help. The four professional criminals who supply smuggling, raw liquor and weapons (Vidyut Jamwal, Amit Sadh, Vijay Verma, Kenny) are the policemen in an incident. The police torture them a lot. They have different punishment in court. Is kept in different jails.

Eventually they all go out after cutting their sentences for four to seven years. Three (Vidyut Jamwal, Vijay Verma, Kenny) then become businessmen and one (Amit Sadh) remains in the world of crime. He returns to the life of old friends after a bisexual year because a gangster wants to kill him. Then a CBI officer also wants to improve his retirement by taking big action against these people.

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This story and its treatment is cold and damp. There is no tightening anywhere. It is worth mentioning that the film was kept for the last few years and it could not find theaters. With the four decades of 1950 to 1990 showing at a brisk pace, Tigmanshu’s hands have left many strands of the story loose. It also has some responsibility for editing. In a scene, the ultimate (electric) man who had killed his enemy in Romania, in a blink of an eye, is talking to a CBI officer sitting on the bench of Lodhi Garden in Delhi. In Yara, neither the original story is tied to any whereabouts nor the small stories related to it. The film is dispersed from the beginning. Tigmanshu has also written the story with direction and he failed miserably in this work. Except for the character of Vidyut, no other character can shine properly.

The film starts with the sound of electricity, ‘Hum chaar thi’. They were guarded by each other. Time was angry with us. But this time he is not angry with us. He hates us. This hatred of time is not seen in the story. Even actors like Amit Sadh and Vijay Verma are not able to leave an impact in their roles. His stories are not found in Yara’s story. Shruti Haasan’s role as the elder father’s daughter, who works with the Naxalites, loses its influence as Param’s wife. Tigmanshu could not use the artists properly. There is nothing special in the song and music of the film.

There is nothing in Yara for which two hours and 10 minutes should be spent on it. Vidyut is definitely successful in making a presence in it outside of the commando series films. Vidyut is a good actor but he rarely wants to try himself out of action films. Yara’s cinematography is good. Some scenes are beautiful. But just watching this film cannot be a reason. All the stories are scattered in the soil of our country.

There are dozens of sensitive topics that need to be told. The story of Yara with French roots is neither completely foreign nor can it become desi. Tigmanshu, who has given flop films like Bullet Raja, Raag Desh, Saheb Biwi and Gangster-3 and Milan Talkies in the last few years, should think critically about the selection of stories. They do not have big stars and content is king on digital.