Tu Yaa Main review: Adarsh Gourav and Shanaya Kapoor battle a crocodile and bloated runtime that prioritises bickering over survival logic

Tu Yaa Main story:

Tu Yaa Main is a high-stakes survival thriller by Bejoy Nambiar. It depicts the unusual pairing of Maruti (Adarsh Gourav), an underground rapper from the outskirts of Mumbai, and Avani (Shanaya Kapoor), a glamorous social media influencer known as Miss Vanity. A deep, deserted pool at a rundown resort turns the couple's impulsive holiday into a terrifying nightmare.

The gloomy, heavy monsoon weather exacerbates their already dangerous predicament as they find themselves trapped in a pit with a vicious, ravenous crocodile. This brutal conflict with a predator forces Maruti and Avani to rely on their instincts and each other, even as they confront their competing egos and social class differences.

Tu Yaa Main review:

In a standout scene in Tu Yaa Main, Maruti—aka Aala Flowpara from Nalasopara (Adarsh Gourav)—remarks that his life has gone from Gully Boy to Sairat in no time after Avani, aka Ms. Vanity (Shanaya Kapoor), enters the picture. In a way, that sums up the entire film, excluding the survival thriller elements.

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The film opens with a crocodile attack at a lake, followed by a shot of a drainpipe leading toward a six-metre-deep pool, hinting at an escape route early on. However, the runtime of nearly two hours and 25 minutes suggests a level of "stretching" that the audience should expect.

The title itself, Tu Yaa Main, is a major factor in shifting responsibilities between the duo. Here, we have an unlikely couple who meet through social media and become inseparable while "collaborating" professionally. The build-up in the first half explores their journey across different social strata; even though these class differences frequently cause friction, they don’t stop the pair from pursuing their relationship. To be honest, the rise of their romance keeps the story intriguing; however, it occasionally feels forced, pushing the limits of what they would do to protect each other in such a bizarre situation.

In survival thrillers, reflexes and survival instincts usually kick in to keep characters alive. Here, however, it feels as though the characters wait for the danger to be immediate—as if the crocodile's mouth must be right at their heels before they take action. While the idea may be a creative liberty to depict a dramatic rescue amidst chaos, it often feels drawn out.

Himanshu Sharma wrote the story, adapting it from the 2018 Thai thriller The Pool. While the premise is similar, the treatment is different. Despite a screenplay by Abhishek Arun Bandekar and some truly profound dialogue, issues arise in the translation to the screen. The story focuses heavily on class differences to establish conflict—an approach that could have been effective. The creators seem intent on keeping the audience restless in ways that don't always land—such as including an entire song to keep the characters awake when they should be focusing on the escape route. The logic of the scene—where characters seem to wait for the crocodile to wake up before trying to escape—ultimately feels like sheer stupidity.

But it's these kinds of "dumb" decisions that make the film far more entertaining than it intends to be. I found myself laughing at unexpected situations where Maruti continuously references Bollywood films—yes, Khoon Bhari Maang (1988) is included, with Rakesh Roshan referred to as "Hrithik ke papa." Moreover, we see them fighting obscurely over who is to blame for their situation.

The reality is simple: they are warned by the resort caretaker to stay away from the deep pool because it is being drained for the monsoon. Despite this warning, Avani relaxes in the pool on a floater, isolating herself from the outside world with heavy headphones. On the other hand, Maruti tries to make quick decisions to leave for their impending Goa trip. When she gets trapped, Maruti ends up falling in—much like Anil Kapoor falling from the cliff in the No Entry climax while trying to save Salman Khan.

As I mentioned, the film has so many laughable moments that it felt like the crocodile was also letting them have their fun. After getting bored listening to their petty fights and blame games, the crocodile finally decides to become the main character. This is the most you will see of a crocodile in a Bollywood film, and it is definitely not an attractive creature to stare at.

The film, featuring cinematography by Remy Dalai, makes excellent use of the heavy rainfall that descends upon the Konkan region, which shuts down life for nearly three months. We see trees shaking violently, glasses shattering, and electricity disappearing. In the meantime, the foolish decisions are not limited to the leading couple; they also involve the supporting characters, making it seem as though everyone is eagerly accepting an invitation to death.

Tu Yaa Main draws inspiration from recent Bollywood films that pay homage to the retro era, particularly in music. We have forgotten songs, such as "Tum Hi Hamari Ho Manzil My Love" from Yaara Dildara, playing at the most obnoxious times, as well as Chori Chori Yoon Jab from Paap Ki Duniya. It is enjoyable to hear these songs, but it also serves as a reminder that we are living in an era of recycling content and music at an exorbitant rate.

With Bejoy Nambiar as the director, one thing is certain: if a specific atmosphere is established in the beginning, it is maintained throughout. The film features a monsoon throughout, but the storytelling makes it feel as though the timeline extends beyond three months. That said, while the filmmakers know how to keep the narrative gripping, they seem to forget where to put a stop to it altogether. The crocodile overstays its welcome, looking as though it is done dealing with this couple who refuses to budge. We felt the same way once the two-hour mark passed!

Coming to performances, this was my first time watching Shanaya on screen. She pulls out all the stops to make her efforts visible in this taxing film. However, it doesn't always look seamless, likely because of the tropes associated with her character—a privileged girl living a hollow life. On the other hand, Adarsh Gourav is given punchy dialogues calling out her actions that reek of privilege. He balances the film so well, being "bindaas" as well as practical in his approach, irrespective of his first time as a solo lead.

If only Tu Yaa Main had the depth of that empty pool and the profound dialogues that Gourav's character occasionally delivers.

Tu Yaa Main verdict:

Tu Yaa Main is a polarising survival thriller that oscillates between genuine tension and unintentional comedy. While Adarsh Gourav delivers a grounded, charismatic performance as the street-smart Maruti, the film is hampered by a bloated runtime and characters who frequently prioritize petty bickering over survival logic.