By Hindustan Times
Tigmanshu Dhulia's Paan Singh Tomar is one more masterstroke from a consummate raconteur. Irrfan, an actor of standing, essays the nature with aplomb. However, the second one half the film is slow, feel critics.
"Paan Singh Tomar, a movie helmed by Tigmanshu Dhulia, has taken a very lonooooong time to hit the screens, but despite the holdup, the film remains as pertinent and relevant in today's times because it was when Dhulia envisioned it," writes Taran Adarsh, Bollywood Hungama.
"As a cinematic experience, Tigmanshu takes us into the sector of Paan Singh Tomar and enlightens us the explanations that impelled a sportsman to take law in his hands. That itself is its USP, for that is no typical vendetta fare. This can be a factual account of a sportsman who brought honor to the rustic, but felt betrayed when he needed the country probably the most. In fact, Tigmanshu calls this cinematic endeavor a tribute to the sportsmen who won medals for the nation, but never got their due through the sunset in their lives. An unbelievable film, no doubt, but falls wanting being memorable because the plot becomes another vendetta fare all through the concluding reels," Adarsh adds.
"There are many such remarkable scenes in Dhulia's film -- a compelling biopic a few natural sportsman and an Indian steeplechase champion from a village in Madhya Pradesh, who upon retiring became a notorious dacoit (or a rebel as Tomar reminds us towards the start of the film. 'Dacoits are present in the parliament,' he says with an almost straight face)," writes Aseem Chhabra, Rediff.
"Dhulia, who worked with Shekhar Kapur within the seminal Bandit Queen, enters the crevices of the badlands of Chambal river and makes you know the way bandits are born. But he also brings out the camaraderie of the jawans and the gentle humour of a unit are very well brought out. The wonderful thing about the movie is that it blends the non-public with the bigger social truths. Tomar will have been running in Tokyo but back home in his village, his family must suffer the similar oppression and humiliation as others," writes Avijit Ghosh, TOI.
Direction
"Tigmanshu Dhulia’s direction is excellent. He has created the ambience of the village beautifully and has extracted superb work from his cast. However, the elemental problem of the second one half the drama is something even his narration isn't in a position to surmount. There’s not much scope for music (Abhishek Ray) however the songs within the background swimsuit the mood of the drama. Sandeep Chowta Projects’ background music is efficacious. Aseem Mishra’s cinematography is excellent. Action scenes, composed by Kaushal-Moses, are appropriate. Sets (by Dhananjay Mondal) are nice. Aarti Bajaj’s editing is crisp," writes Komal Nahta, koimoi.com.
"An intelligent filmmaker, Tigmanshu Dhulia once more shows his perfection on the art. He has surely created a distinct segment for himself as a filmmaker, who adds certain elements to the film that make it believable. For instance, because the flick is ready in 50s, the director puts a scene where the radio station makes a mention of a cancer-stricken Nargis Dutt. What adds to the glee is- though dragged at certain portions, the movie never loses momentum, way to the extremely captivating dialogues and performances," reports dailybhaskar.com.
"The division of fact and fiction becomes another vital scripting dilemma in such films. An excessive amount of reality and also you sweep out the drama and the joys. So director Dhulia sprinkles just the correct amount of winning moments or even the slower sequences have something to bite on. One of the memorable ones include Paan’s cue for love-making: luring his kids out of the home with some lemon juice to permit him enough privacy to get intimate along with his wife (Mahie Gill). Then, Paan’s irrepressible gluttony that manifests itself intermittently makes for charming scenes just like the one where he completes a race and instantly walks off beam to attack a number of bananas," writes Kunal Guha for Yahoo.
Weak second half
"The lone aspect that weighs the film downward is the truth that the narrative totters in the midst of the second one hour, when the tale doesn't really move frontward. Of course, one also comprehends that after you attempt a biopic, you need to stay true to the incidents that transpired in that person's life, but a cinematic adaptation can exclude a couple of episodes that are not too imperative. Tigmanshu could've done that. Having said that, I'd love to add that PAAN SINGH TOMAR is one more masterstroke from a consummate raconteur. The film seizes your attention for many parts and as you exit the screening, it's with a heavy heart, with a tinge of melancholy, which only indicates that the storyteller has succeeded in engaging your interest to something he wished to emphasise on," feels Adarsh.
"Dhulia gets it right at all times. However the transformation is just too quick to be believable, my only problem with Paan Singh Tomar. Forgivable when pitted against the film as an entire. The length might have been worked upon too. Dialogue, as is right for many Dhulia films, is the strongest point of this one too," says Blessy Chettiar, DNA.
Cinematography
"The cinematography [Aseem Mishra] is actually attention-grabbing, while the editing [Aarti Bajaj] is razor-sharp. The background score [Sandeep Chowta] is premiere. It augments the impact of various sequences," says Adarsh.
Performances
"Irrfan, an actor of standing, essays the nature with aplomb. Very evidently, the actor has trained rigorously with steeplechase coaches, because the role requires him to partake on this sport. On the same time, the role should have been physically and psychologically demanding and that i yearn to affirm that Irrfan appears remarkably forceful on this complex part," writes Adarsh.
"Mahie Gill is an improbable talent and it involves the fore another time on this film. Two more actors who leave an exceptional impression are Vipin Sharma and Rajendra Gupta. Both excel of their respective characters. Nawazuddin Siddiqui sparkles in a short lived role. Imran Hasnee is first-rate. The actor enacting the role of Paan Singh Tomar's son is efficacious. Brijendra Kala is astounding because the news-reporter," adds Adarsh.
"Irrfan Khan lives the role of Paan Singh Tomar. He does a swell job, first because the athlete after which because the dacoit. Mahie Gill is terribly natural as Paan Singh’s wife. Zakir Hussain is sweet in a job (Inspector Rathore) that provides him limited scope. Vipin Sharma is natural as Major Masand. Because the sports coach, Rajendra Gupta is endearing. Khan Jahangir Khan acts ably as Bhanwar Singh. Brijendra Kala is first-rate because the journalist. Imran Hasnee (as Matadeen, brother of Paan Singh), Swapnil Kotriwal (as Hanumantha Singh, son of Paan Singh) and Nawazuddin Siddiqui (as Gopi) lend excellent support as do Sitaram Panchal (as Ramcharan), Ravi Sah (as Balram, nephew of Paan Singh Tomar), Bano (as Paan Singh’s mother) and Rajeev Gupta (because the corrupt police officer). The remainder of the forged also puts up a fair show," writes Nahta.
"The movie works because Irffan makes Paan Singh Tomar come alive as an athlete, as a husband and as a dacoit. It is a flawless performance from a consummate actor. As his wife, Gill comes up with an extraordinary restrained performance. There may be humour in addition a gentle intensity within the romantic scenes between the 2. Dhulia gets great work from the rest of the forged. The camerawork, especially of the ravines and the river, is excellent," writes Ghosh.
Conclusion
"On the whole, Paan Singh Tomar shatters the usual rules of this genre. Besides, the film makes you cognizant that serious cinema can also be uniformly delightful, like several other enthralling entertainer. If this number of cinema allures then you definitely likelihood is that that you're going to get pleasure from watching Paan Singh Tomar. Recommended!" Concludes Taran Adarsh.
"Gritty and gear packed Paan Singh Tomar is a tribute to the unsung heroes of sports in India. Dhulia’s direction and Irrfan’s integrity will make Paan Singh Tomar top-of-the-line movies of new time," says Chettiar.
"On the whole, Paan Singh Tomar doesn't have the economic ingredients to attain on the box-office. Had the second one half been more weighty, it might have worked reasonably well but with the post interval portion looking like a routine dacoit drama, that won’t be possible," sums up Nahta.
