“For every trick, there’s a price. For every trouble, there’s a show.” With this intriguing tagline, the makers of Don’t Trouble The Trouble released the trailer for their upcoming film, slated to hit theatres on October 2.

She is trouble, not a victim

Fahadh Faasil plays Suri, a money-hungry trickster whom the narrator compares to a cunning village fox. Daaku Maharaaj and Dada actor Nandamuri Balakrishna lent his voice to the trailer, fittingly referencing his iconic dialogue that inspired the title. Suri is a man who can smell money from miles away, yet he flees at the very first sight of danger. His life takes a dramatic turn with the arrival of a young girl named Divya, played by Ssara Palekar. She brings both vast wealth and immense chaos into his life. Suri kidnaps her to demand a ransom, but he soon realises she is far from an easy target. Divya is trouble personified. She even reveals that she tricked her own parents before disappearing.

A redemption arc

The trailer hints at a redemption arc. Suri’s past comes back to haunt him, leaving him in a position where no one believes him, even when he speaks the truth. Despite their tumultuous start, the unlikely friendship that blossoms between Suri and Divya forms the heart of the story.

Directed by Shashank Yeleti and presented by SS Rajamouli, the film features script development by SS Kanchi and a prominent role for Saurabh Sachdeva. Fahadh looks remarkably fresh playing this flawed magician.

Fahadh Faasil stars as the lead in his first straight Telugu film, the fantasy adventure. Audiences can expect a mix of whimsical fantasy, sharp comedy, and emotional drama. With SS Rajamouli presenting the film, the movie promises visual storytelling alongside Fahadh Faasil’s warm screen presence. The film will be released in Telugu, Tamil, and Malayalam.

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Tanuja has always been an actor who refused to be just one thing. There was an ease to her performances, whether she was being playful, fiery, vulnerable or quietly devastating. From her Hindi films to her remarkable work in Bengali cinema, she brought a spontaneity that made even the most difficult emotions look effortless. Her art lay in dissembling. She could be many things at the same time. And making it all look so easy. Yes, that’s what she was. Her art was effortless. Be it Jeene Ki Raah (1969), Imtihaan (1974) or Baharen Phir Bhi Aayengi (1966), she slid through her performances seamlessly.

Something elementary in her performance is the much-abused word spontaneity. But you will see that in Tanuja,  especially her Bengali films, Anthony Firingee (1967), Teen Bhubaner Pare (1969), Adalat O Ekti Meye (1981), or the more recent outstanding turn in Shonar Pahar (2018). You can see the storm raging beneath when she’s sitting by herself in the rocking chair.

You can see the same craft and ease, be it Ek Masoom (1969) or A Death in the Gunj (2016). It’s a pity she got slotted into the long-suffering mother ghar-dwar family dramas and became the suffering bhabhi in Boxer (1984) and Yaarana (1981) to much older heroes.

Tanuja marched to her own beat. She made the rules; she broke them. If she had scars, she didn’t show them to the world. Once in a while you can see the glimmer of pain and hurt in Pitruroon (2013).

She will scream and yell the place down like she did when she sizzled in Vijay Anand’s sensually choreographed song Raat akeli hai (Jewel Thief, 1967), and then she will interiorise her performance and play a stoic rape victim in Adalat O Ekti Meye.

She won’t demystify her craft; she has no interest. She will float like the foam on the seas; you have to taste the salt. From Guru Dutt to Kishore Kumar, she’s hung out with eccentric geniuses. She knows so much but has very little to say. That’s like her craft. You have to make sense and meaning of what’s on display. Hers is not to tell. Yours is to discern and savour. Happy birthday, Tanujaji.

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