Releasing a newbie is a challenging experience for any director. While attempting to depict them in the best possible light, it is also critical that the actor in a concern be allowed to showcase their talents. The objective of Milan Luthria’s Tadap is clear from the first few seconds of the movie to showcase newcomer Ahan Shetty’s ability as an angry action hero motivated by his desire for his ladylove, performed by Tara Sutaria. The movie is an adaptation of the 2018 Telugu film RX 100, inspired by a true story.
Tadap’s plot looks to be a standard romantic drama of a poor boy’s relationship with a rich girl, who seems to have been forcedly married off to another mister of her father’s preference up to the interval point. However, following the interval, the story suddenly has a lot to unravel and exposes everything that leads to the lovers’ parting.
Ishana’s personality graph remains consistent throughout the movie: he’s passionate, aggressive, and highly devoted. And it is this approach that succeeds for Ahan in his first picture. In his debut picture, he makes a concerted effort to absorb a strong character like Ishana. While his dialogue interpretation may be improved, Ahan has a fantastic acting ability and a fire in his new movie.
In their attempt to portray him as a truthful action hero, the movie’s writer Rajat Aroraa and filmmaker Milan Luthria have included it with massive dialogues that are almost romantic and trapped in some time warp. In addition, it has plotlines that don’t serve the plot successfully.
Saurabh Shukla plays Ahan’s foster dad, whom the entire town of Mussoorie refers to as Daddy, with love and conviction. He adds gravity to the plot. Tara Sutaria, in the role of Ishana’s romantic interest Ramisa, appears stunning in every scene, whether she’s fun, passionate, or breaking down. Other than a storyline twist in the second half, she may have shined brighter if the script had given more room for it. Unfortunately, the plot suffers due to its flaws, making it appear too long for its running length. Although Tadap feels slow before the intermission, it runs in the second half, revealing unexpected twists and turns along with some heavy violence.
As a spectator, all one can say is that some sections of this half should have been covered in the first part to make for a fascinating experience.
Pritam’s compositions are very catchy. The film romanticizes Mussoorie as a city, appearing magical and beautiful and providing a lovely setting for the romantic drama. Nevertheless, it is impossible to overlook that it is riddled with cliches and scenes that make it appear not very pleasant for its set era. Furthermore, the heat in this love storyline frequently fails to ignite your emotions because the writer cannot keep it together.
To summarize, while Tadap brazenly plays to the audience with action, music, and well-shot cinematography, it would have benefited greatly if the script had given the actors more freedom to drive it home a more compelling romantic drama.
