Filmmaker Aditya Sarpotdar, who is currently enjoying the success of his latest release Thammahas addressed the ongoing criticism regarding the inclusion of three item songs in the film – ‘poison child’, ‘You are not mine’And ‘Dilbar’s eyes’Director who previously gave horror-comedy hits Munjya Within Universe responded to the debate in an interview with Screen, explaining his creative reasoning and how such songs play a functional role in modern storytelling and marketing.
Thamma director Aditya Sarpotdar defended the use of item songs: “They are marketing properties, but my story comes out through them”.
Responding to the response, Sarpotdar said, “All these things are marketing assets that take you to a film. What matters is what the film gives you in the end. For me, when these songs come, they are there because my story unfolds through them.” The filmmaker emphasized that the tracks were not inserted merely for glamour, but were woven into the narrative to enhance its rhythm and emotional beats.
buzz around ThammaIts music gained popularity after audiences questioned the need for three different item songs in a horror-comedy. Addressing the criticism directly, Sarpotdar pointed out that audience perception has changed in recent times. “This is the same audience that loved ‘Taras’ In Munjya And ‘‘Tonight’Then no one had any problem. But now, suddenly, it’s an issue. Maybe it’s happening more often, so people are reacting differently,” he commented.
ThammaStarring Ayushmann Khurrana and Rashmika Mandanna in the lead roles, Maddock is the first love story set in the horror comedy universe – an interconnected cinematic world consisting of Woman, wolfAnd MunjyaDespite receiving mixed critical reviews, the film continues to perform well at the box office and continues to attract audiences with its blend of romance, supernatural intrigue, and quirky humor.
Aditya Sarpotdar’s response reflects a broader conversation about how item songs are evolving in contemporary cinema – from standalone entertainment numbers to narrative devices and powerful promotional tools. As he says, what really matters is the story that remains long after the music has faded.
with ThammaSarpotdar has once again proved that commercial appeal and story can co-exist – even if it means salvaging a few catchy beats along the way.
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