Endings matter. Especially when you are offered Aamir Khan as a cop with a
past, Rani Mukherjee as a depressed wife, Kareena, an enigmatic hot hooker
and the efficient makers of Zindagi Na Milegi Dobara. But when all this just
remains as good as the promo and don’t quite come together in the end, you
miss the tension filled ride in Sujoy Ghosh’s Kahaani.
If a mystery gets solved in your head half way if doesn’t quite satisfy. And when one genre is pitched as another in a promo, it disappoints too.
Talaash, unfortunately, remains one of those part satisfying, part disappointing films. Call it suspense, call it noir, call it drama. It doesn’t make a difference in the end.
A film star is found dead in a drowned car close to a red light area. Surjan (Aamir Khan), the cop in charge of the case investigates by day and drives around all night, sleepless and unable to deal with a troubled past. His marriage to Roshni (Rani Mukherjee), also depressed, has reached a dead-end. On one such late night drive, Surjan is accosted by a hooker, Rosy (Kareena Kapoor). The chance encounter leads him deeper into the glittering by lanes of the red light, further embroiling him into the mysterious car accident and his own personal trauma.
What follows is a beautifully shot almost two hour mood and murk montage of Kareena’s mysterious, beguiling, half seductive smiles, Aamir’s bitter, well chiseled, heavy moustached look carrying the conviction for the rest of the story. Strong supporting actors like Nawazuddin Siddiqui and Raj Kumar Yadav help big time.
A particularly tension filled song sequence beautifully filmed on Nawaz, by itself establishes Reema Kagti as a director with great promise.
Farhan Akhtar’s dialogues, along with additional dialogues by Anurag Kashyap keep up the tempo occasionally but the weak story and screenplay by Reema Kagti and Zoya Akhtar is unable to see the film through, post interval. The story fails to establish any emotional connect when it goes into personal drama area. When tackling its main mystery plot, it lacks sufficient intrigue and intensity. The subplot involving Nawaz’s involvement is not something you haven’t seen before. Despite brilliant cinematography (especially water-car crash scenes) by Mohanan, smooth editing by Anand Subaya, Talaash doesn’t quite make the fine cut.
Kareena Kapoor gets the most dramatic lines, which she delivers without too much fanfare She has certainly mastered the art of a tantalizing walk. Aamir Khan may disappoint his fans as he doesn’t have a chunky enough role. Rani displays sufficient sensitivity. Her simple sari look does more for her sexy back than any skimpy clothes would.
Ram Sampath ‘s fabulous music and Javed Akhtar’s lyrics are one of the best things about the film, especially the songs, ”jee le zaraa”” and “muskaanein jhooti hain”.
Watch Talaash for mild entertainment, great songs, great visuals but don’t expect any mindboggling quest or puzzle.
If a mystery gets solved in your head half way if doesn’t quite satisfy. And when one genre is pitched as another in a promo, it disappoints too.
Talaash, unfortunately, remains one of those part satisfying, part disappointing films. Call it suspense, call it noir, call it drama. It doesn’t make a difference in the end.
A film star is found dead in a drowned car close to a red light area. Surjan (Aamir Khan), the cop in charge of the case investigates by day and drives around all night, sleepless and unable to deal with a troubled past. His marriage to Roshni (Rani Mukherjee), also depressed, has reached a dead-end. On one such late night drive, Surjan is accosted by a hooker, Rosy (Kareena Kapoor). The chance encounter leads him deeper into the glittering by lanes of the red light, further embroiling him into the mysterious car accident and his own personal trauma.
What follows is a beautifully shot almost two hour mood and murk montage of Kareena’s mysterious, beguiling, half seductive smiles, Aamir’s bitter, well chiseled, heavy moustached look carrying the conviction for the rest of the story. Strong supporting actors like Nawazuddin Siddiqui and Raj Kumar Yadav help big time.
A particularly tension filled song sequence beautifully filmed on Nawaz, by itself establishes Reema Kagti as a director with great promise.
Farhan Akhtar’s dialogues, along with additional dialogues by Anurag Kashyap keep up the tempo occasionally but the weak story and screenplay by Reema Kagti and Zoya Akhtar is unable to see the film through, post interval. The story fails to establish any emotional connect when it goes into personal drama area. When tackling its main mystery plot, it lacks sufficient intrigue and intensity. The subplot involving Nawaz’s involvement is not something you haven’t seen before. Despite brilliant cinematography (especially water-car crash scenes) by Mohanan, smooth editing by Anand Subaya, Talaash doesn’t quite make the fine cut.
Kareena Kapoor gets the most dramatic lines, which she delivers without too much fanfare She has certainly mastered the art of a tantalizing walk. Aamir Khan may disappoint his fans as he doesn’t have a chunky enough role. Rani displays sufficient sensitivity. Her simple sari look does more for her sexy back than any skimpy clothes would.
Ram Sampath ‘s fabulous music and Javed Akhtar’s lyrics are one of the best things about the film, especially the songs, ”jee le zaraa”” and “muskaanein jhooti hain”.
Watch Talaash for mild entertainment, great songs, great visuals but don’t expect any mindboggling quest or puzzle.
Hi Gayatri,
ReplyDeleteMy first visit to your blog and I must say you've taken quite a 'critic'al approach to the theme.
I've seen Talaash and surprisingly I echo your thoughts and opinions. There was another post which carried a good rating for this film. However, it seemed like an OK film, nothing to be gung-ho about.
Kareena got the lion's share and sizzled the screen with her personality and role.
The music is haunting and lingers on even after the song has finished.
Thanks for this review Gayatri.
Regards
Jay
http://road-to-sanitarium.blogspot.in/
Thank you for reading, Jay:)Yes, there have been two completely opposite views on the film,some people loved it, some didnt. It also depends on what we expect,I guess.
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