WATCH PAAN SINGH TOMAR NEW HINDI MOVIE ONLINE FREE
Khan, Mahie Gill, Vipin Sharma, Imran Hasnee, Nawazuddin Siddiqui, Zakir Hussain,
Rajendra Gupta, Khan Jahangir Khan, Brijendra Kala, Sitaram Panchal
Producer:- Ronnie Screwvala
Director:- Tigmanshu Dhulia
Release Date:- 2 Mar 2012
a defining sequence in the film, Paan Singh Tomar tells his superior
that his mama [uncle] isn't a dacoit, but a baaghi [rebel]. In another
sequence, during the course of an interview to a news-reporter, he makes
a scathing remark, 'Bihad mein baaghi hote hain... Dacait milte hain
Parliament mein'. That, in a nutshell, sums up the persona of the
long-forgotten steeplechase runner, who felt miffed by the government's
betrayal and became a dacoit of Chambal. PAAN SINGH TOMAR, a film helmed
by Tigmanshu Dhulia, has taken a really lonooooong time to hit the
screens, but despite the holdup, the film remains as pertinent and
relevant in today's times as it was when Dhulia envisioned it.
Come to think of it, there is a very thin line between a baaghi [rebel]
and a dacoit. Tigmanshu tries to define the thin line between a rebel
and a dacoit, but the question is, is this borrowed-from-real-life saga
as bona fide and stimulating as Shekhar Kapur's BANDIT QUEEN, which was
also a biopic [Phoolan Devi]?
The Hindi film industry's 'dacoit fixation' dates back to the era when
dacoit films were massively admired [and accepted as well, since most of
them were huge hits]. Films like JIS DESH MEN GANGA BEHTI HAI, MERA GAON
MERA DESH, MUJHE JEENE DO, SAMADHI, BINDIYA AUR BANDOOK, PUTLIBAI,
DACAIT and of course, SHOLAY are relished to this date. Much later, the
dacoits got replaced by rebels in the 1990s. The focus shifted to cities
[from Chambal and Ramgarh], the protagonist drove cars and bikes [a
transition from horses]... In PAAN SINGH TOMAR, there's Chambal, but no
horses. Nor does the protagonist with bloodshot eyes breaks into a fiery
dialogue that would instantaneously draw whistles.
As a cinematic experience, Tigmanshu takes us into the world of Paan
Singh Tomar and enlightens us the reasons that impelled a sportsman to
take law in his hands. That itself is its USP, for this is no typical
vendetta fare. It is a factual account of a sportsman who brought honor
to the country, but felt betrayed when he needed the country 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 during
the sunset of their lives. An incredible film, no doubt, but falls short
of being memorable as the plot becomes another vendetta fare at some
stage in the concluding reels.
Paan Singh [Irrfan Khan] was a small-town lad who went on to win the
steeplechase at the national games. A series of life changing events,
however, forced Paan Singh to give up athletics, pick up the gun and
become a dacoit of the infamous Chambal valley.
With films like HAASIL, SHAGIRD and the recent SAHEB BIWI AUR GANGSTER,
Dhulia has developed a niche spectator base. In PAAN SINGH TOMAR,
Tigmanshu makes the biopic attention-grabbing by being focused on the
motive that provoked Paan Singh to revolt and pick up the gun. The
uphill task of making a biopic is palpable as Tigmanshu attempts to
recapture the life and times of the athlete on celluloid. Given that
Paan Singh's bio-data was multihued, Tigmanshu has depicted the
character's life, from the time he joined the armed forces, became an
athlete, to the spat with his relatives and picking up the gun. The
graph from a young man to middle age, till about 50 years, Tigmanshu has
encompassed it well in those two hours, picking up fundamental
occurrences from his life, thus making an entrancing motion picture. In
fact, the reason that pressed Paan Singh to pick up the gun comes across
emotively and sensitively.
The lone aspect that weighs the film downward is the fact that the
narrative totters in the middle of the second hour, when the story
doesn't really move frontward. Of course, one also comprehends that when
you attempt a biopic, you have to stay true to the incidents that
transpired in that person's life, but a cinematic adaptation can exclude
a few episodes that aren't too imperative. Tigmanshu could've done that.
Having said that, I'd like to add that PAAN SINGH TOMAR is yet another
masterstroke from a consummate raconteur. The film seizes your attention
for most 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
The cinematography [Aseem Mishra] is truly attention-grabbing, while the
editing [Aarti Bajaj] is razor-sharp. The background score [Sandeep
Chowta] is most appropriate. It augments the impact of numerous
Taking on a biopic is akin to a challenge of sorts for the actor since
he/she has to visit a part they may be unaware of, yet have to portray
it with tremendous passion. Irrfan, an actor of standing, essays the
character with aplomb. Very evidently, the actor has trained rigorously
with steeplechase coaches, since the role requires him to partake in
this sport. At the same time, the role must have been physically and
psychologically demanding and I yearn to affirm that Irrfan appears
remarkably forceful in this complex part.
Mahie Gill is an incredible talent and it comes to the fore yet again in
this film. Two more actors who leave a solid impression are Vipin Sharma
and Rajendra Gupta. Both excel in their respective characters.
Nawazuddin Siddiqui sparkles in a brief role. Imran Hasnee is
first-rate. The actor enacting the role of Paan Singh Tomar's son is
effective. Brijendra Kala is fantastic as the news-reporter.
On the whole, PAAN SINGH TOMAR shatters the standard rules of this
genre. Besides, the film makes you cognizant that serious cinema can be
uniformly delightful, like any other enthralling entertainer. If this
variety of cinema allures you then chances are that you will take
pleasure in watching PAAN SINGH TOMAR. Recommended!
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