Just an hour after the trailer for Tanvi—The Great dropped, social media was flooded with reactions—but not all of them were impressed. Directed by and starring Anupam Kher, the film claims to be an emotional journey centred on a young girl with autism. Yet, what was marketed as a heartfelt story seems more like a manipulative attempt to cash in on a sensitive subject.
Kher, who revealed that this story had been with him for four years, called it his "most personal film" and announced it on his 69th birthday—a move that felt more like a PR stunt than a genuine artistic declaration. While some may have found the trailer moving, a closer look reveals a predictable, emotionally exploitative narrative cloaked in sugary sentiment.
What’s worse is the sense of déjà vu. Bollywood has already been criticised for turning serious issues into shallow spectacle, and Tanvi—The Great seems to be the latest example of this trend. Much like Sitaare Zameen Par, which faced backlash for romanticising autism and turning real struggles into emotional clickbait, Kher’s film appears to be walking the same worn-out path—using disability not to inform, but to manipulate.
Let’s not forget the dramatic moment at the trailer launch when Kher brought a child with autism—his friend's kid—on stage. Many in the audience saw it as a touching gesture. But was it really? Or was it a planned emotional hook to distract from the film’s lack of originality and depth? In a media event that carefully avoided real questions, one couldn’t help but wonder if the entire narrative was choreographed from start to finish.
And how convenient that the film is being made under Kher’s own banner, casting his own students from his acting school. While touted as a platform for new talent, it seems more like a branding exercise—an attempt to globalise his acting school under the garb of "inclusive cinema". When veteran actors start using disability as a narrative device just to stay relevant or chase festival awards, it says a lot about the current creative bankruptcy in Bollywood.
Let’s face it—when an actor with over 540 films to his name chooses to play it “safe” with an issue-based script that no one will dare criticise publicly, it’s not bravery—it’s calculation. With trailer visuals designed to tug at the heartstrings and a press event loaded with sentiment but empty of substance, Kher’s film feels less like a tribute and more like a trap.
The comparisons with Sitaare Zameen Par are inevitable—and not flattering. Aamir Khan’s comeback vehicle faced flak for glossing over the realities of autism in favour of tear-jerking drama. Critics called it a “manipulative masquerade”, and now Tanvi—The Great appears to be following the same blueprint. Emotional montage? Check. Uplifting music? Check. Token representation? Double check.
So, what are we really celebrating here? A film that gives voice to autism—or a film that uses autism to boost box office numbers and safeguard its lead actor-director’s legacy?
The real test will be on release day. But from what the trailer shows, Tanvi—The Great looks like another manufactured masterpiece—polished to perfection, but hollow at its heart.