Rating: 2/5
Director Milan Luthria doesn’t try anything new. It’s all done and dusted

Tadap thinks that it is a new age, coming of age love story. May be it thinks that it gives couple goals. May be it thinks it portrays emotions. Wrong. Completely wrong. Such stories became non existent and trivial and age old even when 2000 hadn’t arrived. It is 2021. A story as simplistic as this won’t get any takers, for sure. Those who will take it, probably take every film that come their way.

Watch the trailer here:


Ishana (Ahaan Shetty) is a young man gone rogue with his violent streak dominating him. Riding around Mussoorie brashly and beating goons on the street is his thing. Why? There’s a past that involves his lady love Ramisa (Tara Sutaria)


The story, screenplay and dialogues are penned by Rajat Arora. Now he is the man who has given TV shows like CID and Aahat, and films of the likes Taxi No. 9211, The Dirty Picture, Once Upon a Time in Mumbai, Gabbar is Back among others. How can such an experienced screen writer go wrong? Or yes, we must realise, screenwriting is probably the toughest task among all that constitute filmmaking.

The scenes here carry no charm. A scene has a projection. A beginning and an end. Here, the scenes begin randomly and end abruptly. You don’t feel the heat or belonging, a major reason why the overall film falters. The story never grows on you because the scenes don’t. So what is the plot does come up with a twist towards the later part of the second half? You are so dejected by the narrative by then, that no matter however the film tries to gain your trust back, it has lost you. Even the twist isn’t a complete twist. You would guess it to some extent if you have been watching it carefully. But not all will do that, because the film borderline bores you.

tadap, film, review, hindi, 2021
Ahaan Shetty on sets of the film (image source: instagram)

The opening sequence doesn’t set the tone, and only keeps you guessing for what must have happened. Infact none of the things that happen in the first half set the mood or raise the bar for the upcoming drama. You know for sure that it will have a hunky dory flashback and then the villanous father of the girl will set it all apart (no spoiler- the trailer clearly show this). Things keep happening as you know they will and you don’t feel connected to the story or the characters or the chemistry between the young couple. Why you watch it with some ease is because the performances are decent enough.

Saurabh Shukla and Kumud Mishra- two of the best actors that we have today- the makers must thank them till eternity for consenting to the film. It is because of their presence as supporting actors that you get some faith in the story and you know that something concrete will definitely appear along the way. Talking of the twist of the plot- the Rajat Arora could have brought it a little earlier in the film so as to keep the intensity going full throttle and making the dynamics of both the halves balanced. By doing so, there would be opportunity for the writer to play around with the aftermath of the twist. For now, there is no scope at all.


Ahaan Shetty delivers a confident act as a debut. You will definitely wonder on how can the son resemble his father so much, without even trying hard for it. During the action scenes or when he screams, it is ditto Suniel Shetty of the 90s. It is a good remembrance of sorts. Talking of Ahaan, he does have a bright road ahead. But the fate of this film might become a dampener.

Tara Sutaria also acts fine, majorly in the second half. Mostly, it’s not a case of wonderful acting, but also not too bad.

tadap, review, hindi, film, 2021
Ahaan Shetty and Tara Sutaria in a still from the film (image source: youtube.com)

Saurabh Shukla and Kumud Mishra- both lie on the same page as far as performance is concerned. They bring trust to the table and lend mature supporting hand to the lead cast. Sumit Gulati in the role of a comic friend has also done reasonably well.


You definitely expect better from Pritam when it comes to songs. Arijit Singh does bring in some magic, but the real power will always be of the tunes. Tumse Bhi Zyada is still okay, but the other numbers are nowhere close to being good. John Stewart Eduri’s score is fine, keeping the mood of the film balanced and running.

Cinematography by Ragul Herian Dharuman is very simple inclined towards below average and at times also disturbing. The camera shakes quite a bit and the actors also come in your face. Production design by Ajay-Vipin is okay to say the least. Most of the work is done by the scenic locations of Uttarakhand and during the indoors, the duo have kept it utterly simple, without playing much on light or style. Things could have been visually better.

Editing by Rajesh Pandey disturbs you at times when there are too many cuts in action scenes or even during one romantic number. The pace has been achieved satisfactorily and not much could be done in terms of flow because the faults remain with the screenplay.

You won’t quite enjoy it. It remains a film that is made just like that, not even providing good entertainment. It can surely be missed.

Rochak Saxena

Rochak Saxena a Mass Media Teacher, former journalist at DNA and an ardent lover of Hindi films - literally. The blog derives its name from the popular term ‘Willing Suspension of Disbelief’, most commonly used in the world of literature and cinema. Meaning to immerse yourself in an unreal world (where you know what you see on screen is fake) with a self-proclaimed/declared belief/wish to consider it real, the willing world becomes magical. It’s the same magic every Friday that drives Rochak to share things in the perspective that it needs to be observed with. Every film is different. And the difference needs to be cherished.

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