Tumbbad has long been hailed by critics and audiences alike as a stunning masterpiece from start to finish. However, many seem to overlook the narrative lull that creeps into its middle chapter. Directed by Rahi Anil Barve, with Adesh Prasad as co-director, this Indian folk horror film hit theaters on October 12, 2018, after nearly six years of careful development by Sohum Shah Films, Colour Yellow Productions, and Film14.
The film features Sohum Shah in the role of Vinayak Rao, who navigates a cursed village in Maharashtra, driven by a desire to hoard ancestral wealth from a sinister entity. While the film initially captivates with its atmospheric creature features and a compelling prologue, the second act tends to get stuck in a repetitive cycle of greed, which slows the narrative down.
A turning point for the film came when audiences started looking beyond the visual spectacle to analyze its overall structure. During its initial theatrical run, which lasted over 50 weeks in select Indian cinemas, viewers primarily focused on the visceral practical effects and Pankaj Kumar’s award-winning cinematography.
This visual excellence earned the film the National Film Award for Best Cinematography at the 66th National Film Awards. Here’s the thing: once the novelty of the womb-like underground vault faded during repeated viewings, the middle section revealed a predictable pattern of Vinayak descending into darkness, collecting coins, and facing family issues.
After this critical re-evaluation, both audiences and streaming subscribers on platforms like Amazon Prime Video began to scrutinize that middle chapter more closely. Despite grossing around ₹13 to 14 crore globally, the film’s financial path felt more like a slow-burn journey fueled by word-of-mouth rather than an overnight blockbuster success.
This slow trajectory mirrored the second act itself, which spent a considerable amount of time reinforcing the same theme of human greed without adding any new narrative tension.
| Act Phase | Pacing & Tone | Core Narrative Driver |
|---|---|---|
| First Act | Fast-paced mythological setup | Introduction of Hastar and the ancestral curse |
| Second Act | Methodical and repetitive | Vinayak’s recurring descent for gold coins |
| Third Act | High-stakes catharsis | Generational cycle confrontation and finale |
The ongoing discussion about the film’s structure doesn’t take away from its impressive technical achievements or its bold decision to shy away from typical Bollywood clichés. Fans of atmospheric horror often point to the evolving cinematic scene in India as evidence that experimental films like this deserve recognition, flaws and all. Acknowledging the narrative sag in the middle twenty minutes helps us appreciate how contemporary classics come together.
If you prefer concise storytelling and want to avoid the repetitive middle, focus on the engaging framing bookends. But if you enjoy watching characters slowly unravel, the second act builds its claustrophobic tension effectively.
