TMK – The greatest Con Movie ever.

I have a soft corner for Farah Khan films. In Main Hoon Na, the Metric scene; usage of Jaane-Jaa song during the hunt for the brother scene; the usage of the geehsa peetha camaraderie spirit between brothers to a very good effect really bowled me over. The stupid action sequences didn’t dampen my liking for the movie and till today I like watching the college sequences of MHN. OSO, a time pass flick with a good first half, inspired me to write my first PFC post.

I am also one of the very few who liked the Shirish Kunder directed Jaaneman – chiefly for its exquisitely shot scenes and excellent harmony between the BG score and edit.

So, with Farah Khan at the helm of a Shirish Kunder co-written story, while I didn’t expect TMK to be an intelligent, sensible movie, I expected to have belly full of laughs and to see some well executed con sequences. After all when the promos scream at us about the greatest con man in the world, some smart con sequences, copied or not, are expected.

Instead what we get is some extremely dull jokes interspaced with action sequences which are conspicuous by their absence, some songs & over the top acting by Akshay Kumar (which doesn’t work) and Akshaye Khanna (which is the only thing that works) and insipid acting by all others.

Some jokes like the spoof on Jai Ho and Manoj Night Shyamalan, might have been funny if they hadn’t hammered it with a relentless sagacity of a woodpecker pecking away to glory. The courtroom sequence towards the end could have salvaged the movie if it wasn’t written in such a humorless manner.

But, the con is there in the movie. Instead of wowing the audience with smartly executed con sequences, the entire movie is made to con the audience to come and see the movie wherein the hard work is made only in making a well cut promo and Sheila Ki Jawaani. I don’t know the budget of TMK, but with almost all the scenes shot in Malshej Ghat and studio, a strong opening weekend will definitely rake in the moolah for the makers with the audience shouting (T)eri (M)aa (K)i.


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