Talash: Slow but steady Talaash
Picture source: Wikipedia
Starring: Aamir Khan, Rani Mukerjee, Kareena Kapoor
Rated: 6.5/10
Aamir Khan was right about Talaash. It is definitely not a thriller. But yes, as he insisted, it is quite a suspense! A slow, tugging suspense which defies the straitjacket of a mystery movie which generally draws its flesh and blood from pace. Writer-director Reema Kagti has bravely refused to speed up in this one, preferring instead to go with the tide of a super slow build-up, based on a detailed investigation, incidentally going nowhere in most part of the film. So, it is to the credit of her strong storyline that till the very last, you are unable to fathom what’s going on. Cynics may say, ‘exactly! Really there’s nothing going on so there is nothing to fathom’! But that’s not the real picture here.
A lot goes on in Talaash but mostly in the pychological warfare that its characters, mainly its lead inspector Shekhawat, wage with themselves. The lean, high-eyebrowed Aamir Khan (with elephant ears if you don’t mind) underplays everything in this one — he picks up clues rather slowly, he is really mean to his bereaving wife, he roams the streets (especially the redlight area) in search of clues to a star driving into the sea even though he was neither drunk nor being chased. Most of it looks aimless, and so true of police invesitgations that we know of.
But the syrup comes from the inspector’s interactions with a hooker in a delightfully done up Kareena Kapoor who walks the streets as Rosie, dropping clues and trying to seduce the inspector till she realises he is of a different make.
The film creeps on you through its art direction which is stunning and never forgets its main duty — to propel the story. The underlit underbelly of Mumbai, the restless energy of the redlight area, the calm counters of a lowtide ocean, the white sound, the lighting of the staff quarters, Rani Mukherjee’s freckles, Aamir’s stonefaced sleeplessness — everything is heightened to the max by immaculate light and sound effects.
Aamir dominates the frames as he is meant to, but the good thing is that he does so along with the storyline, never overawing the screenplay with his stardom.
Rani Mukherjee, who plays his neglected wife, does well with her completely de-glamourised look, though her role is somewhat unfleshed. Kareena, on the other hand, walks away with footage though you can’t blame her for misusing it. As Rosie, the prostitute, she displays a heady mix of chicanery and candidness that builds up points for her not just in Aamir’s mind but also in yours.
The background score never gets loud and nothing screams in the movie, not even the death of the main couple’s only son due to drowning. The lonechappal that floats up and into Shekhawat’s troubled mind makes you feel sadder than usual.
Kagti has done well to keep the suspense on till the last few frames, though the ones who can’t think about a thinking suspense not slave to pace will not like this one. Those who can appreciate it without the prop, will enjoy the experience.
Source: Published December 2, 2012
A lot goes on in Talaash but mostly in the pychological warfare that its characters, mainly its lead inspector Shekhawat, wage with themselves. The lean, high-eyebrowed Aamir Khan (with elephant ears if you don’t mind) underplays everything in this one — he picks up clues rather slowly, he is really mean to his bereaving wife, he roams the streets (especially the redlight area) in search of clues to a star driving into the sea even though he was neither drunk nor being chased. Most of it looks aimless, and so true of police invesitgations that we know of.
But the syrup comes from the inspector’s interactions with a hooker in a delightfully done up Kareena Kapoor who walks the streets as Rosie, dropping clues and trying to seduce the inspector till she realises he is of a different make.
The film creeps on you through its art direction which is stunning and never forgets its main duty — to propel the story. The underlit underbelly of Mumbai, the restless energy of the redlight area, the calm counters of a lowtide ocean, the white sound, the lighting of the staff quarters, Rani Mukherjee’s freckles, Aamir’s stonefaced sleeplessness — everything is heightened to the max by immaculate light and sound effects.
Aamir dominates the frames as he is meant to, but the good thing is that he does so along with the storyline, never overawing the screenplay with his stardom.
Rani Mukherjee, who plays his neglected wife, does well with her completely de-glamourised look, though her role is somewhat unfleshed. Kareena, on the other hand, walks away with footage though you can’t blame her for misusing it. As Rosie, the prostitute, she displays a heady mix of chicanery and candidness that builds up points for her not just in Aamir’s mind but also in yours.
The background score never gets loud and nothing screams in the movie, not even the death of the main couple’s only son due to drowning. The lonechappal that floats up and into Shekhawat’s troubled mind makes you feel sadder than usual.
Kagti has done well to keep the suspense on till the last few frames, though the ones who can’t think about a thinking suspense not slave to pace will not like this one. Those who can appreciate it without the prop, will enjoy the experience.
Source: Published December 2, 2012
Comments
Post a Comment