Reflections on TALAASH (Hindi, 2012)
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Aamir Khans association with Excel Entertainment began with Farhan AKhtars path-breaking DIL CHAHTA HAI. Their latest collaboration TALAASH (director by Reema Kagti of HONEYMOON TRAVELS LTD) is in some ways, the total opposite of the world embodied by DIL CHAHTA HAI.
A slow-burning murder mystery where all is not that meets the eye, Kagti takes inspiration from films like THE SIXTH SENSE, STIR OF ECHOES, THE PLEDGE and countless other Hollywood films but makes an original effort. The plot revolves around Aamir Khan, who plays a burnt-out cop investigating a case where none of the clues add up. His home life is on a downward spiral with his inability to deal with the loss of his son and he immerses himself in the case to avoid confronting the issues with his wife (Rani Mukherji). His investigation brings him in touch with a set of characters living in the fringes of the red light districts in Mumbai as he delves himself into the case further to uncover the truth. When a new neighbour movies in next door claiming to have interacted with Aamir’s dead son, all is not what meets the eye.
Like Khan’s previous attempt DHOBI GHAT, TALAASH isn’t a film that fits easily in the mainstream of Hindi cinema. It would’ve been an effort for any other actor/director/producer to see this film get close to the 100 CR mark. Reemas style is an instant throwback to the noir films that came out in the 40’s and 50’s. At times, the nature of the investigation, and the unravelling of the plot as well as the slow-burner pace, reminds one of Curtis Hanson’s edgy L.A CONFIDENTIAL and David Finchers ZODIAC. The pacing is uneven at times, and really slows down towards the middle but never enough to bore the viewer or lose interest. Those who are avid watchers of Hollywood films will certainly find a number of reference points, story arcs and plot twists that have been witnessed before, but the other masterstroke of TALAASH is to see the story set in a new milieu and setting, with a new directors sensibilities and new actors.
Aamir Khan dominates the screen in every frame. In an era of over-glamorized cops who are larger-than-life in the “overman” mode (SINGHAM, DABANGG) it’s refreshing to see Aamir play the part with utmost restrained and realism. Khans enigmatic screen presence and get-up hits the right mark, and this is easily one of his most effective performances to date. In a strange way Aamir has completed a trio of films, all inherently different in their respective genre’s, but all dealing with the issue of “memory loss” (GHAJINI, DHOBI GHAT, TALAASH). In a year where Shahrukh Khan has JAB TAK HAI JAAN and Salman Khan has DABANGG 2, Aamir Khan again shows why he’s a class apart.
Rani Mukherji is stunning and leaves her mark. Her moments and scenes with Aamir Khan reminds us again what a talented and under-utilized actress she is. Kareena Kapoor shines in her part reprising a similar part to what she did in CHAMELI with aplomb. Nawazzuddin Sidiqui completes a hat-trick after GANGS OF WASSEYPUR and KAHAANI with another chameleon-like performance. His Tehmur is a poignant portrayal which pays more than an apt tribute to Mazhar Khan’s legendary act Abdul in SHAAN.
TALAASH may not necessarily be an easy watch, nor is it one that the viewer can easily get in the mood to watch, however it’s a rewarding film which deserves more than one watch to pick up the fragmented pieces of the plot twist after the film finishes. 2012 has given us a large number of interesting films, however TALAASH, IMO, remains the finest film of the year despite its flaws.
Prashant Harish Hari
December 25, 2012 at 11:50 PM
A very good review, heartwarming and sensible one at that. While the police are shown larger than life as Singham or caricaturish like in Dabangg, indian public lap them up. They want instant entertainment on the lines of 3 Idiots, singham and Dabangg.
It is not failure of talaash but it is the failure of appreciative and intelligent audience.
December 26, 2012 at 6:57 AM
it is the lack of sufficient appreciative and intelligent audience who can sit through slow movies.
December 26, 2012 at 7:40 AM
Thanks Sanjana. I think the other issue here is that audience had experience somewhat of a similar film in vein with KAHANI which was relatively quicker paced and a more “exciting” film per se, which means that TALAASH had some of it’s novelty taken away from it.
December 26, 2012 at 4:18 AM
“finest film of the year” is a little too far fetched. I loved the premise of this movie but then it is another story on how effective it was emotionally. It was as shallow as it got. And the reason that I cared to comment on this review is because you actually compared this movie (even if it is remotely identical) to Zodiac. Zodiac was A+ grade when it came not simply to the story but also to the execution and long term affect it had on an audience. That is a movie that needed serious research and sensitive portrayal of one evasive character and those investigating him. Talaash, if i am right, has no genuine detective scenes. I loved the effort of the filmmakers of Talaash and Aamir’s genuine motive to push the envelope for good film making. But then thats it. I would like to ask again in one word – Zodiac?????
December 26, 2012 at 7:41 AM
I think the distinction with ZODIAC lies more with the pace of story-telling and unraveling of the mystery for me. Granted both films are in different genres with different sensibilities, but the overall pacing and tone (ZODIAC is no doubt a far far superior film).
December 26, 2012 at 4:26 AM
Well written analysis of an under-rated film that did not get its due from the Indian audience. Despite a few blips, Talaash is till one of the better films from 2012. And to me it’s right up there with Kahaani. Both are good in their own way, could have been better. Kahaani was so fast paced, one did not think of the holes. Talaash was a lovely slow gourmet meal that faltered at the last course. Still, well done, both.
December 26, 2012 at 7:41 AM
Well said and totally agree IS.
December 26, 2012 at 7:05 AM
a good balanced piece there masterpraz–devoid of unnecessary overanalysing-thanx
” Talaash was a lovely slow gourmet meal that faltered at the last course. “–well stated LS–though i personally didnt think it “faltered” in the last course
But it seems that many including aamir fans felt ‘cheated’ due to the eventual supernatural angle
Throughout the movie those poor sould kept on trying to put 2 and 2 together trying to be sherlock holmes to solve this ‘whodunnit’
and when ‘reality’ dawned they felt taken for a ride!!
Somehow i could see the ending coming the moment i saw the scene involving shernaaz patel–thought her character/role was quite well done and scarily eerie somewhat!
But besides all that–for me–it was aamir all the way esp in the couple of key scenes …(I am tired!)
December 26, 2012 at 7:42 AM
thanks aa. Yeah years and years of Hollywood films means I too saw the ending within the first 30 minutes of the film. The “twist” wasn’t much of one for those who’ve seen plenty of other films in the same genre earlier. But it’s the milieu, context, and cast which makes the difference
December 26, 2012 at 7:48 AM
exactly masterpraz
i also laugh at those lamenting about this lack of ‘twist’ and so called ‘betrayal’ by the supernatural theme
I mean, are we here to watch some kiddish comics and is it all about “what happened” or “whodunnit”
“But it’s the milieu, context, and cast which makes the difference”–entirely
And maybe some like satyam now wrongly take me as “anti-aamir” !!
But purely as a performer–lemme repeat what i said earlier
This WHOLE film and the exercise by kagti and co is nothing but a TWO-BIT FACADE
infront of just 2 SCENES given by aamir khan–
a) “I am tired”
b) the “final breakdown scene” by the lake
The REST is just background noise….for me
December 26, 2012 at 7:56 AM
This is the problem when an actor performs. He or she hogs all the limelight. I feel director is the most important person and without his or her vision, the film will be only an empty shell. Here Reema Kagti deserves her share for the way she handled the scenes and situations.
Even in Kahaani and EV, the protagonists hogged the limelight too much.
December 26, 2012 at 8:05 AM
Indian cinema still is very much driven largely by the star system primarily with everything else secondary. Granted the director in a large no. of cases should get more credit than the star, but then you have something like DABANGG 2 where the star is the primary driving force. Comes down to the sensibilities of the film and team involved.
December 26, 2012 at 8:07 AM
Thanks AA. I think it’s a bit hard to call it a facade as I found the film had some great quieter moments apart from the ones you mentioned (as well as some arresting visuals for noir fans).
A analogy can be drawn to SHUTTER ISLAND as well which was in some ways a similar film in vein.
December 26, 2012 at 11:32 AM
Good read here and great to see you after a while.. hope all’s well at your end..
December 27, 2012 at 2:38 PM
HEy Satyam, have been trying to look for your email address.
A lady emailed me regarding your site-whats the best email?
Yeah I’ve been well, been busy..have decided to refocus my energies in getting some old passions up and running i.e Showwizz.com. You’ll see a bit more of me around.
December 27, 2012 at 2:45 PM
Lots of ladies are stalking Satyam for his email address
December 26, 2012 at 10:41 PM
So Reema is not satisfied with helming a dark drama in a basal masala driven market. It’s a good thing she goes against the tide. But what’s not good is this fall from having AK as the lead to now opting for the great Farhan in her next film!!! All the best Reema..you need luck..loads of it..
http://www.bollywoodhungama.com/more/news/view/id/1635178
December 26, 2012 at 10:45 PM
^needless to add that the plot idea sounds quite interesting to me…thanx ann