Tees Maar Khan
- Director
- Farah Khan
- Studio
- UTV Motion PicturesHari Om EntertainmentThree's Company Productions
- Release Date
- 23 December 2010
- Running Time
- 131 min
- Language
- Hindi
- Country
- India
- Budget
- ₹45.00 Cr
- Box Office
- ₹101.89 Cr
Review
Faraz Arif Ansari's "Tees Maar Khan" is a film that mistakes audacity for wit, confusing hyperactive filmmaking with genuine entertainment. Akshay Kumar delivers a performance that's all manic energy and mugging—reminiscent of his comedic excesses from the early 2000s, but without the restraint that made those films work. The premise itself has potential: a con artist exploiting Bollywood's vanity to orchestrate a heist is clever enough, and there are shades of "Ocean's Eleven" or even the more playful moments from Rajkumar Hirani's work. However, the execution is scattershot. The direction lacks coherence, jumping between slapstick, melodrama, and heist-thriller beats without earning emotional investment in any of them. What could've been a slick, smart caper devolves into a series of disconnected sketches held together by Kumar's relentless mugging and increasingly unbearable comic set pieces.
The supporting cast—from Katrina Kaif's underutilized glamour to Jimmy Shergill's ineffectual villain—feels wasted in a film that demands too much from its lead and too little from everyone else. The village sequences, meant to be the film's satirical spine, come across as condescending rather than clever. There's a particular strain of mid-budget Bollywood here that mistakes noise for narrative substance: the editing is frenetic but not rhythmic, the comedy timing is off, and the film's central con never feels genuinely threatening or satisfying when executed. For a heist film, the
Storyline
So basically, there's this legendary con artist named Tees Maar Khan who's known for pulling off impossible heists. The cops have just recovered a massive haul of ancient treasures worth a crazy amount of money, and they're moving it on a train to the capital. The police commissioner is pretty sure that Khan will try to steal it, so he beefs up security like crazy. Meanwhile, Khan gets arrested in Paris, but being the slick operator he is, he manages to escape from the cops who are escorting him back to India.
Pretty soon, Khan gets contacted by these notorious criminal twins who want him to pull off the heist of a lifetime—stealing those treasures right off the moving train. Khan's got a wild idea though. He heads to this small village that sits right along the railway line and decides to use the cover of making a movie there. He cons a Bollywood superstar into thinking there's a film being shot, convincing the guy it'll boost his Oscar chances. It's all part of his elaborate scheme to set everything up for the big theft.
The whole plan basically hinges on Khan's ability to manipulate everyone around him—the villagers, the celebrities, and ultimately the police. He's running this insanely complex operation where he's basically creating a distraction by getting the village and a famous actor involved in his fake film production. It's classic Khan style—mixing crime with showbiz, lies with charm, all while trying to outsmart the authorities and pull off what seems like an impossible robbery.
