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789 Responses to “Talaash, the rest of the box office”
taran adarsh @taran_adarsh
#Talaash advance booking at multiplexes is very good.
It’s all in this phrase isn’t it?! You like the rare Aamir film, when it’s SRK however you even like Ra One which you then prefer to Inception!
The problem as always is one of consistency. If one likes all kinds of genres only when one’s favorite star is involved but otherwise has an extraordinarily high bar or alternatively if one starts suggesting that most Aamir films are overrated and are much like most SRK films.. there’s a problem!
Leaving aside your like/dislike issues there is a larger point to be made here as well. A lot of times people don’t like certain genres which is fine but they then defend the mediocre film of a genre they like to superior ones in genres they don’t. I have very little taste for rom-coms if at all. On the other hand I can watch pretty bad thrillers! But I can ‘see’ that a certain rom-com is better than a certain thriller even if I might ultimately prefer watching the latter.
In any case when one suggests one is being fair when others aren’t (referring to your comment) one is either being completely cynical or one lacks completely introspection. Because the evidence assuredly suggests otherwise. And to repeat a point ad nauseam my issue is never with the fan or even necessarily the fanatic! That is one’s will and wish. But when entire arguments are framed only based on one’s likes and dislikes these are essentially partisan positions only meant to buttress one star or the other or attack another one. Once again this becomes obvious when there’s no consistency. So for instance I don’t like most SRK films over the past decade or more. Even in the 90s the love stories weren’t necessarily my favorite films but SRK had a certain flamboyance and energy at the time which worked well with those films and some of those efforts were enjoyable at the time (though I wouldn’t want to revisit most of these), something like DDLJ remains a classic. Over the past decade the love stories have become more tired and stale and have also in recent times become absurd. On the other hand when SRK has done sensible films of the sort I love when Aamir or Abhishek attempt them I have liked these as well. The best example is Dil Se but then Swades. CDI I thought was grossly overrated but didn’t dislike it by any means. I don’t care about perfect films, just interesting ones on this score. The reason I again bring up these examples is because there’s consistency here. I found BB fairly enjoyable, more because I like one of the stars here perhaps but I do think it was better than most of the Rohit Shetty films I’ve seen (barring Singham and All the Best.. haven’t seen a few). But I have not talked about BB at all since release even though this was a successful film and everyone at the time went gaga over Abhishek’s performance. Why? Because this isn’t the sort of thing that interests me very much. As opposed to this I was talking about Raavan months after its release and still do. So again when there’s consistency and sincerity one will like films even with stars one doesn’t otherwise care for (I like a number of Sunny films even though I have absolutely no liking for him). When it comes to Aamir here’s someone who’s done sensible cinema most of the time over the past 15 years and most of it has been very entertaining as well. To then like his films at a somewhat lower rate than one likes SRK’s films, and even if it’s the same rate, this simply makes no sense.
Most of us don’t hate any star/ person. Which is why I cannot understand the unreasonable and unfair hate rained on Aamir Khan by many of SRK’s internet fans. Sad. Most people have enough judgement and sensibility-sensitivity/whatever to simply like one person more and be happy enougfh/tolerant about others.
Dear me. What did I say to deserve such a long comment satyam?
>You like the rare Aamir film, when it’s SRK however you even like Ra One which you then prefer to Inception!
I don’t connect with Hollywood films though I watch some few now and then. So obviously I’d prefer Ra.One to Inception. I honestly didn’t mind it.
Of course I like films of genre I like. Doesn’t everybody? Actually it’s only the contemporary violence genre I hate. They are not like the fights of ABsr who made it an elegant art.
Anyway I was referring to the spate of bashing reviews trying to be funny. I’ve read reviews from sensible and intelligent bloggers who have expressed very balanced reviews and in the light of that the reviews here were a joke, apart from a couple of them.
Looking forward to watching it tomorrow night 9.15pm. Hearing from some that it’s the Inception of Bollywood and others have mixed views.
P.S these are the reports from those residing in Dubai.
I suggest all those who wish to see Talaash see it ASAP because some moron will reveal the climax etc as some just wish to ruin it for others. On top of that certain critics can’t be trusted in not revealing any spoilers.
Avoiding reviews on this until Saturday. Not that I care all that much about spoilers. It’s more fun when you don’t know what’s what, but a good movie should remain so irrespective of whether or not you know where it’s headed.
Or LA Confidential’s Rolo Tomasi moment…of course. There’s a certain energy that gets sucked out of things when a spoiler pops in, but I find that the parts of these movies that I want to actively revisit are not at all the “revelatory” moments but the more atmospheric, mysterious passages…to use a cliche, the journey as opposed to the destination.
Hi guys. I’m from Mauritius and I had the opportunity to watch ‘Talaash’ today FDFS. Just to let you know my favourite actor was, is and will always be SRK but I do watch almost all Bollywood movies and since TZP released, missing a movie starring Aamir Khan is a sacrilege. So here’e my review of the movie guys.
To start with, whenever I enter the cinema hall to watch an Aamir Khan starrer I expect quality cinema coupled with entertainment. With the exception of Ghajini, TZP and 3 Idiots exceeded my expectations. So, today again I entered the cinema hall waiting to be surprised by this wonderful actor. Verdict??? I sincerely believe now that no one can match the quality cinema that Aamir offers. Wow!!! This was one heck of a thriller..sorry ‘supernatural thriller’!!!
The movie starts with a bang and the first half is really very engaging. The graph of the film goes higher and higher till intermission. Actually, the movie has 2 stories- one where we have Aamir Khan as the inspector, carrying an investigation on the death of a Bollywood superstar which everyone claims is an accident and second is how he is turning himself into a culprit for an event which happened in the past thereby becoming more and more depressive. And yes both of these stories are connected but none of the rumours doing the rounds have got it right about the story. That’s all I have to say about the story, the rest you’ll have to watch it on screen to see the magic unfold.
One scene which I really liked was where Aamir thinks of that past event that had occurred and thinks of himself as a culprit, a flashback is shown of that event and Aamir thinks of three different actions he could have taken to prevent this event from taking place. These 3 events are shown separately one after the other and the way it has been executed was really good.
After the intermission there is some chit-chat going on between Aamir and Kareena which AT THAT POINT seemed totally useless but other than that the movie really engages and keeps you on the edge of your seat.
Also, I’ve read some comments sayng it is the ‘Inception’ of Bollywood. It’s not guys!!Actually, there are some loopholes in the script but the movie really moves at a fast pace that you do forget them.
On the acting side Aamir Khan, well, is Aamir Khan. He is really restrained and performs this depressive man act with gusto. Kareena has more screen space than Rani but both acts well. I really liked the way Kareena mouthed these ‘randy’ dialogues
To end with, I would say that if you are expecting quality cinema then Talaash is for you and if you are expecting only entertainment then also Talaash is for you. Do watch it guys you won’t be disappointed😛
Liked it a lot. Specially the second half when it’s much more process-oriented and therefore a purer film. Of course it’s interesting from the very beginning but some masala features are thrown in along the way. Not that I blame Affleck for this as it makes the work more accessible I suppose. And I am not even criticizing this. But the second half was truly outstanding. This is though essentially a Cold War spy thriller in contemporary Mideast garb. The scene at the airport is classic but it’s also the sort of deal often found in Cold War thrillers. Affleck in any case has become a rather remarkable director. the lesson that every good director attempting a suspense film learns from Hitchcock, and perhaps not only him, is that process creates suspense. You focus obsessively on all the little details of how things work and so on and suspense is created. The French are masters at this. Unlike others though their genius has been in taking process (and similarly editing patterns associated with suspense) into other genres (romantic, non-suspense drama etc) as well, thereby enriching them considerably. If there is perhaps a master of process even moreso than Hitchock, or at least someone who takes those cues to a certain logical extreme, it’s Melville. Chabrol seems poor compared to him (though I don’t quite intend this as a knock). In any case the spy thriller is always very well-matched with these choices. Because process is of course crucial to these stories in every sense of the word.
On a related note liked Farewell a lot a couple of years ago.
agree with everything. i didn’t mind the conventional elements in the first half. you are right that it makes the film more accessible, i think it also makes it more quirky and less of a straight up spy thriller. also, i think the story itself lends it to those quirky elements. i mean it’s about the implausible story of a fake movie being used to get people out of ‘enemy territory’. so i didn’t mind them playing those things up, especially with the sharp dialogue and humor used here.
I liked Argo less than The Town. But nevertheless, it was one of the best movies of the year. I’d take both films over Gone Baby Gone. Agree with you everywhere here, and the second half really does pick up. Liked some of the economy of his choices given the speed that this genre operates on. The brief coda involving the fate of the house maid was one of those thoughtful touches.
Most recently I saw Flight. Didn’t think it was as great as some of the reviews suggested but the actual plane crash was rather brilliantly put together and Denzel is terrific. This week Pitt’s Killing Them Softly releases. Hoping to catch this before anything else.
Even I don’t get to watch subtitled movie very often. But wife was busy watching episodes of “Army Wives”..So I got a perefect excuse to see a movie which she wouldn’t have watched. She liked “The Intouchabales” after initial hesitation.
Talaash trickling vibes
rReceived a message from some1 not in2 Bollywood usually…
Mouth 2 mouth —oops word of mouth review
And some1 whose taste I believe in.
Talaash is apparently one of Aamirs best films yet quality wise…
And Aamirs is a class act
Wasn’t going to since bit busy right now–but now hav to watch talaash ‘google’ this weekend hopefully
Good 2 see folks watching one film after another –here bloody work will break my back
Ps: I could sense it from the trailer
In the scene where aamir warns this guy to stay away –grrrr
Love this sort of ‘implosive’ acts
My hunch is that it may be my most favorite male Bollywood acts this year …
‘Talaash’ is all set to go public on November 30 in around 2500 screens in India and more than 500 screens overseas, which means a good opening will bring the film on the verge of being a hit. ‘3 Idiots’, which had got a fabulous opening, was released in 415 screens in overseas and thus ‘Talaash’ is likely to earn more in foreign markets on the first day due to more number of screens.
Trade experts say that Talaash producers may not have promoted it well but the craze for the film is soaring up to sky high. The Aamir Khan, Kareena Kapoor and Rani Mukherjee starrer is surely going to send down the collection of Jab Tak Hai Jaan and Son of Sardar completely at the Box Office. Now, it should be seen whether it will be able to break the first day record of Salman Khan’s Ek Tha Tiger.
On the whole, TALAASH is an outstanding film. A taut psychological thriller that keeps you guessing till the end, it leaves you spellbound, leaves you mesmerized, leaves you with an exclamation, ‘Wow!’. An absolute must watch for all movie buffs. You just can’t afford to miss this one!
unique raju–rest assured–ive heard some awesome word of mouth from an authentic source
to heck with taran/ komal et al!
i usually wait for reviews but not after this source—apparently aamir has delivered a masterclass–its time now for his fans (& other ‘pseudofans’) to oblige and hit the theatres
and show who the real fans were
enjoy–tryin some romanian tonight😉
Today I was watching Starplus where one tv actress asked Aamir as to why did his first marriage fail and why did he leave his first wife. His answer was not that convincing and he repeated the cliche that he has lot of respect for his first wife.
When a man starts respecting the wife rather than loving, the marriage breaks.
I know it was somewhat of a flippant remark but mutual respect is as important an ingredient as love and affection in a successful marriage. Or any relationship for that matter.
For the longest time I held Aamir’ s failed marriage against him and still do to a degree but not as much. Nor does he owe any explanation to anyone but his wife’s,Kia and wife’s family.
“For the longest time I held Aamir’ s failed marriage against him and still do to a degree but not as much. Nor does he owe any explanation to anyone but his wife’s,Kia and wife’s family.”
hmm theres somethin brewing in rajen uncles environs—he is getting some ‘rebellious’ & fantasy ideas ala nishabd
guess a beating or two on reaching back home will set him right again 😉
sanjana, it was a mutual decision. In fact, reena is seen in all the major functions of aamir’s. Aamir has taken superb care of her and kids in terms of monetary aspect. Reena openly came out in support of aamir when there was lot of opposition against him during NBA. Reena has never washed dirty linen in public reg. aamir and vice versa….what else do you want? Aamir has been honest that the marriage didn’t work after a certain period.
wow—what a ‘deep’ thought sanjana
can i appoint u my relationship advisor– u will be ultrabusy 😉
ps–was he asked about the other ones–eg jessica hines
i actually like this idea
one in each big metropolis–london paris new york bombay
that should be gr8 film …(and an even better spoof) hahaha
got another anecdotal confirmation…
talaash is in aamirs top 3 films and performances alltime!
Dont need any further reviews…(but coming from that source, cant say bout box office though)–lets see if indian audiences have finally come of age…
Aamir Khan is back and yes, with a bang. Even though this reviewer is not a die-hard fan of Aamir Khan, the truth is that you can love him or hate him, but there’s no escaping his films. Talaash, which was originally slated to release last year, proves once again this actor’s films are not to be skipped and completely worth the wait.
As the credits start rolling, Reema Kagti introduces us to the dark side of the city of Mumbai, which is known to be glamorous. Cinematographer KU Mohanan goes beyond clichéd depictions and showcases the actual night life of this city, which is more than glitter, parties and a fashion-crazed world. And by the end of it, you understand how each opening frame is important to bring the film to a fitting conclusion.
Minutes into the film, we see a speeding car meet with an accident. The driver is a well-known actor Armaan (Bhatena); the witnesses, three unsuspected men; the investigating officer, inspector Surjan Singh Shekhawat (Khan). The deeper Surjan sinks into his investigation, the more he realises that there is a lot going on than that which meets the eye. Meanwhile, a parallel story unfolds, that is, of Surjan and his wife Roshni (Mukerji). While the couple hardly communicates, it is revealed that they lost their child in an accident. While Roshni undergoes therapy to get over the shock, Surjan, who spends sleepless nights, drowns himself in work when he is not thinking of the ill-fated moment in which he lost his son.
While Surjan goes on to investigate the mystery behind Armaan’s death, he comes across various seedy people, which includes a pimp, his right-hand man Tehnur (Siddiqui) and a sex worker Rosie (Kapoor). As he faces the daunting task of finding the reason behind Armaan’s murder, Surjan unveils the murkier details of an intricate mystery.
The plot of the film is what proves to be a real winner as it leads to a logical, yet questionable end. While the movie is slow before the interval as it tries to establish the plot moving back and forth in time, the second half will leave you scratching your head as you try to piece everything together along with the lead actor.
Khan is not particularly brilliant in the film, but he does complete justice to his role. To his credit, he plays the multi-layered character of a grief-struck father and an honest cop with complete ease. Mukherjee does not have much to do in the film, but her deglamourised avatar creates a strong impression. She is quite convincing in the role of a devastated mother and a concerned wife. Kapoor does not have much to do in the first half of the film, but her character takes a front seat in the second half. She is charming and looks even more convincing in the role of a sex worker than she did in Chameli. Siddiqui is commendable. He plays an important role and he plays it with sheer brilliance.
Reema and Zoya Akhtar have spun a gripping tale that will capture your attention from the very first minute and will definitely leave you surprised by the end of it. Though there are a few clichés, they can be ignored when you consider the entire package.
The music by Ram Sampath helps carry the movie forward with some soulful melodies. My personal favourite is Jiya Lage Na. The background score is fitting as it adds to the mystery. The cinematography is laudable as it portrays a compelling picture of the red-light areas of the city. Anand Subaya’s editing is crisp.
In all, Talaash successfully whets the appetite of all the Aamir Khan fans. As for the story, you can always trust Zoya Akhtar to give her best. Talaash is not a flawless film, but it is a fascinating tale that compels one to look beyond that which is evident. You can’t miss this one.
” Kareena looks even more convincing in the role of a sex worker than she did in Chameli”
im not surprised there…
but whats surprising is that her styling (not all but some places) here seems a bit better and even understated in terms of makeup, colors at places—didnt know bombay hookers were like that
maybe someone with more info/experience may opine..
I have deleted a number of comments that were just taking up space. I have warned on this many times before so no one should mind. Specially around the release of a major film there’s already lots of traffic and there is no need to clutter things with silly comments.
no probs satyam–we werent writing shakespeare anyways…
“Specially around the release of a major film”–lets take a deep breath and then —stop breathing….till the opening numbers of talaash come in…
sandyi–can i request a nice talaash review soon pleeez…thanx
Hiya kash–hope everythings shining with u & your better half–hav u taught her any bollywood yet?
as for satyam–well im trying to be ‘gentler’ with him nowadayz…
Dont mind his deleting comments since thats all he can do to me.
I dont mind if he deletes all my comments–infact like them to be deleted myself leaving no ‘trail’ ha—theres nothing saintly or ethereal about em
@ vijay–if i chill anymore now, i shall be in (romanian) hypothermia😉
satyam–im not joking—infact i would prefer u deleting all/most of my comments afterwards in a few hours or so–i actually will prefer it😉
ps–though i appreciate that u hav other work to do than deleting comments all the time ha
the problem is deleting stuff isn’t quite that easy. Because if people respond and a thread is created you have to delete everything otherwise comments start going all over the place (i.e. not in order).
@ satyam–no probs–keep deleting as and when u can..
@ kash—ha -Which ‘women’? dont get carried away m8…
Most/all ‘women’ here are actually males and some ‘guys’ (even satyam) are actually ‘females’ …
As for me–hav u seen /touched air or sound….
All well Sir, I see that you have become Sir Bachchan’s favorite lately, He is posting your comments left and right on FB and elsewhere. Glad you are being heard, BTW loved your piece on father son that AB sr posted today. Always admired your writing, now respect it as well, You have some good views not just about cinema, Gotta take some lessons from you about life and being a good human being as well. Good going sir, Keep it up. Now please forward a few tips to AB sr for Jr as most of us have discussed here which would help him elevate his career. Dying for that to happen.
Yeah, But the best parts are the comments that follow. ofcourse praising you. But they are really funny. Such as “Kya satyam bhai, kya dhasu english likha le hai, apun ko bhi sikha de” LOL. hilarious at times. You gotta check it out.
I have seen many comments here and nothing happen to them,people like arsh,king khan and some womens get away with murder,I do not like if some are treated as biased.
This blog should restrict al sorts and all people who blog in it,its simple some people get special treatment and some get rudely deleted comments,if this blog all about speacial people then good luck with your blog satyamji..” who cares”
yes precisely.. and again no one is saying there cannot be silliness from time to time. We all engage in it. There wouldn’t be much fun without this or the humor or even some rough stuff from time to time. But it’s a question of proportion.
Mohan, as I’ve said many times before it’s a judgment call. First off I have deleted some comments by some of the people you mention. But it’s not just about objectionable stuff necessarily. Sometimes the comments are chatty ones more appropriate for twitter or FB or a SB. A few are fine but if one goes on and on with them every other discussion gets drowned. I still let many stand. This is not a science! There is no bias here but obviously if a few people are more prolific with their comments and these same comments are then of the blah type more of these will get deleted. Doesn’t mean there’s a bias. And I don’t recall treating women any differently though I must admit I’d rather have more around than less so as to keep the intelligence quotient of the blog higher! The all-male deal becomes a very sorry affair!
But note how the value of such 100 crore films is also getting diminished. Unless you’re doing a Salman where you have multiple films every year with stupendous initials. Otherwise many are prospering with masala. It’s one thing to do a Barfi which stays in memory and quite another to do disposable masala. Now of course more interesting films can be remade but the kinds that are being attempted in Bollywood don’t inspire much confidence (did enjoy Rowdy a lot but this is hardly marquee entertainment!). The path remains the Aamir one for someone like Abhishek who has acting ambitions. Now he risked too much perhaps too quickly, one can debate all of this but he might have over-learned that lesson. So I certainly hope he gets back to more sensible stuff sooner than later. Ranbir meanwhile is trying something similar without Abhishek’s mistakes. He’s playing it safer in a sense because he’s staying small with the different (for the most part) and he keeps doing regular multiplex fare too to keep the base happy. Not a bad way at all to go for a young star like him. I hope Abhishek discovers that balance at least after D3. Maybe do a couple of films, one the mass-oriented kind, the other prestige fare.
OT — I just ran across a photo of SRK as a baby that I’ve never seen before. It’s rare that babies as young as this resemble the adult version (though I’ve known some cases). Anyway, I thought I’d share, as it’s a cute pic. I’m avoiding all Talaash threads, so have nothing to contribute on that score.
(I hope this is new to Old Gold, too, and that she likes it.)
Just read this issue of post deletion above. i do understand and appreciate the ‘angst’ of mohan and many others, and do find there is ‘inconsistency’ here sometimes.
And some folks who ‘praise’ Satyam and his usual suspect stars–get away with more –but I think it is NOT much in scale.
Also by coming here, folks are agreeing to the ‘editorial policy’ here-which overall is very good.
Besides, I personally don’t see this whole ‘ego’ or anger at getting posts deleted. Ok if someone has written a well researched labour of love review -I will appreciate that deletion isn’t done
I personally do have some issues when some guy writes well prepared pieces like on vengeance etc and they aren’t even acknowledged–but anyhow..
And this whole ‘sycophancy’ angle which though negligible Is there nonetheless imo in small bits sometimes
Coming back to deletion —
I feel that deleted post archives maybe more worthy since they speak some uncomfortable truths or the rare digression from the incestuous mind pool here (obviously I’m not talking about the really abusive etc posts that got deleted)
My personal idea on deletion—
Is that I care a damn about my posts get deleted..infact I prefer it mostly..if Satyam can catch up lol
Perhaps some come here to exhibit their talent or perpetuate their thoughts or start a revolution–I don’t intend either of this.
Many of my posts are deleted -yeah one is surprised sometimes but there’s no ‘ego’ hassle …
Also if I look back, I don’t think I will fiind a SINGLE post of mine that deserved to stay –infact I myself want them to go to the bin soon after their disposal from my mind–gud nite
was the whole point of that comment to suggest that i am a guy? haven’t recovered from anjali singh trauma have you, doodh ka jala and all that
that’s right, i am a guy pretending to be a girl to keep the iq levels at acceptable levels per satyam’s wishes. btw, this is one of those superfluous comments satyam can feel free to delete to show he is not biased towards the (alleged) females.
Ha Satyam- agree I get away with stuff the most here ha
I was infact ‘praising’ u (though in my own style)
@ mr/ms anya
I usually need a ‘proof’ (& that too to see/touch) since I don’t go for hearsay -but in this case, the ‘proof’…😉
**READ AT YOUR OWN DESCRETION** but nothing too revealing here.
The Dead Man Had an Oddly Familiar Name
‘Talaash,’ Starring Aamir Khan
Reliance Big Pictures
Kareena Kapoor as a sex worker in the Bollywood thriller “Talaash.”
By RACHEL SALTZ
Published: November 29, 2012
“Talaash” is a Bollywood thriller, which means it’s elastic enough to include a tear-stained story about a troubled marriage and the wages of grief before veering into the supernatural.
Shot with flair and control by the director Reema Kagti, “Talaash” works because it’s grounded in a visual style (the cinematographer K. U. Mohanan gives it a shimmering, Mumbai-noir moodiness) and emotional realism. Ms. Kagti’s power trio of stars deserve some of the credit. Aamir Khan plays a police inspector investigating the suspicious death of a movie star (last name Kapoor, of course); Rani Mukherji is his wife — their son has drowned in an accident — and Kareena Kapoor a prostitute who helps him with his case.
Ms. Kagti keeps the performances reined in but also lets the actors strut their broody (Mr. Khan), soulful and teary (Ms. Mukherji) and sex-bomb (Ms. Kapoor) stuff. (Nawazuddin Siddiqui shines as a street hustler who both attracts and repels your sympathy.)
Ms. Kagti, whose previous feature was the slightly adventurous comedy “Honeymoon Travels Pvt. Ltd.,” wrote “Talaash” with Zoya Akhtar (herself the director of the wonderful “Luck by Chance”). Farhan Akhtar (Zoya’s brother and the director of the generation-shifting hit “Dil Chahta Hai“) is a producer, as is Mr. Khan (the star of “Dil Chahta”).
sandyi was talking about indian reviewers i think but this is an even worse example of a grudging review. and the question is valid here too – why bother at all? i doubt many nyt readers will stop subscribing if every bollywood movie didn’t have a 3 sentence review. must be easy for saltz to make a living this way.
Critics are often given an advance copy to review for American films, with the review being published on the date of release. Mabye Aamir did the same for Talaash? Incidentally, this is one of the major reasons why Hindi films don’t get reviewed regularly in mainstream American papers, as most don’t provide copies to critics, and expect them to see it in the theater.
(Incidentally, to elaborate on the point about revealing spoilers I made in another post, one time an Indian critic did agree to not write about the film till it was released, but then wrote a non-review review in an Indian paper, and, when called on it, claimed he didn’t violate the terms of his agreement with the producer because he didn’t write in an American paper, and it wasn’t an actual review.)
With three of Bollywood’s top stars, and Aamir Khan taking his first leading role in three years, Talaash has been eagerly anticipated. This dark, troubling noir mostly pays off expectations, despite a screenplay that occasionally goes off the rails. Polished and seductive, the film should do extremely well at the box office.
A car veers off a seaside Mumbai road, crashing into the ocean and killing its driver. Other “accidents” have occurred at the same spot. Inspector Surjan Shekhawat (Khan) leads the investigation, questioning the victim’s family and friends and later re-enacting the incident in a patrol car.
In the nearby red-light district, Shashi, a low-life pimp, panics when he learns of the accident. He cleans out his stash of money, condemns his girlfriend Mallika to a brothel, and leaves town. But not before Tehmur (Nawazuddin Siddiqui), a crippled servant, steals his cellphone SIM card.
Grieving over the recent death of his son Karan in a boating accident, Surjan throws himself into the case, in the process ignoring his wife Roshni (Rani Mukherji). She in turn reaches out to a neighbor who claims to be in touch with Karan’s spirit. Is the psychic trying to deceive Roshni?
Clues suggest that Shashi was blackmailing the victim. Surjan questions brothel workers, including the beautiful and enigmatic Rosie (Kareena Kapoor), who taunts the cop during a series of increasingly tantalizing encounters.
As Tehmur contemplates his own blackmail scheme, Roshni and Surjan face the possible end of their marriage. Meanwhile, Rosie flits in and out of Surjan’s life, drawing concern from his colleagues.
Directing her second feature, Reema Kagti adroitly juggles competing storylines, building up a sense of menace through Mohanan’s atmospheric cinematography and a complex score by Ram Sampath. Just as impressive is the film’s sympathetic but realistic view of sex workers. Yes, you can find loose ends here and there, but the mood of unease that percolates throughout Talaash makes up for them.
Khan is impressive in a role that requires restraint to succeed. Seething with guilt, his Surjan is always a step away from losing control, whether facing down suspects or wrestling with his feelings for Rosie. The gorgeous Kapoor is a very convincing femme fatale, while Mukherji is touching as the neglected wife. And Siddiqui takes a smart approach to a role that could have turned into a maudlin caricature.
Not everything works here, but filmmaking this accomplished deserves attention. From its look and score to its twisty plot and excellent acting, Talaash (which means to search or look for) is a very satisfying mystery.
May I use this space to rant a little? What is the obsession that Indians have with revealing twists or spoilers in a film? It’s not even people with an agenda against a particular film or star (at least I can understand their motive), but just regular film goers. It seems that no one can rest until they tell everyone else about what they’ve just experienced, with no consideration or thought that others might also like to have that experience, unsullied by foreknowledge? I’ve seen film critics reveal crucial plot points in their reviews, and of course all the winners of the myriad award shows are announced weeks, if not months, before the show actually airs. It seems that the audience, too, does not care to be in suspense or be surprised. With such an unsophisticated audience (who are not the much derided “rickshawwallahs”), how can people expect sophisticated films, or hope to win Oscars? I’m shocked and disappointed anew each time this happens.
U answered your own question. I say this with my personal experiences in Indian ‘so-called’ high society circles. Sophistication left with the British, to be replaced by wealth-induced snobbery. Essentially, we are all evolving rustics climbing the ladder of new money.
Talaash: Aamir Khan urges fans not to reveal the suspense
Bollywood, Updated Nov 30, 2012 at 10:37am IST
Mumbai: Superstar Aamir Khan, whose new film ‘Talaash’ releases Friday, has urged his fans not to reveal the suspense of the film in public.
“Hey Guys, ‘Talaash’ is releasing. Hope you like it. One request to those of you who see the film, please don’t let out the suspense. Thanks! Lots of love,” Aamir wrote on his Facebook page.
‘Talaash’ is a crime thriller. The movie is directed by Reema Kagti and features Kareena Kapoor and Rani Mukerji as well. Aamir is known for his innovative promotions, but this time actor opted for a more quieter way of promoting the new film. He felt extensive promotions could bring out the suspense of the film.
will be watching this movie on saturday night! initially was not too hyped to actually go watch it in the theaters but i am now intrigued for some damn reason. lol. haven’t read any reviews apart from the synopsis. hope to see a good, if not great movie.
Too bad. Once again this brings back the issue of how “educated” the audience is, and hence how educated the filmmakers can be. Mysteries on film are always less satisfying than in print, in terms of pure mystery, and must rely on “mood” elements to derive their effects. Throw in an audience who is not used to or prepared to think, and the film can’t really attempt very much in the way of mystery or thriller (I’m including Hollywood films as well here).
Yes Nykavi, wom is very mixed. I hate to say it but the whole vibe of the film has been thanda from the word go. A suspense thriller, unless treated in an entertaining format (a la Gupt, or Khiladi, Teesri Manzil) is not going to set the BO on fire.
Yes supernatural and horror films do reasonably well in India, but the genre is just not a very preferred one to get you the biggest numbers. Historically, Indians have always loved the shringara and hasya rasas more.
OK..this is for Ami and others who found DEEP’s character ‘regressive.’ This will warm the cockles of Ami’s heart..Mr. Utkal and the she-male Anjali who found Deepika’s character not regressive will obviously not like this…anyway, check after 18:00 for comments on COCKTAIL..
I haven’t watched the video yet, but I just want to say: I am NOT going to participate in any further arguements about Cocktail, Deepika’s character or Ali and Adajania’s intent. So if Alex (or anyone else) is going to use An Jo’s comment as an opportunity to resume that old, tired debate, they’ll be talking to themselves.😛
and thanks for the link An Jo, this looks interesting.
I am not mocking anyone…not my style at all…and I do not wish to drag anyone into any debate either…the long debates that went on regarding ‘feminism’ etcetera came to my mind when I saw this interview and felt I should share it…
Even if you take that part, the video I felt is good..especially Reema comes across as a very stable and thinking head
Yes, I just watched the part of the video that you pointed out: Reema seems like an intelligent filmmaker, and Zoya is an quite entertaining speaker- it is an interesting conversation.
And that comment about the debate was not meant for you at all, it was addressed to the Cocktail Defence Squad who’ve undertaken the heroic mission of protecting the film from any disparaging comments on the blogosphere .😛
Don’t care a damn about what soya or xyz thinks bout it
I liked & enjoyed cocktail a lot- period!
Brilliant film – had shades of European light semi noir auteurism laced with pop contemporary bollywoodism….
Class act homi adjania
As for ‘regressive’ ‘ progressive’ I don’t get caught in these admittedly confused random terminologies- both dips n Diana were essentially similar with a different apparent exterior to the uninitiated
I am pretty tolerant and am way past my teens so do not have any ‘affiliations’ that result in propping up or bringing down any actor/actress..So in our Swades, AB Sr was, is, and will continue to be – for me – the greatest actor-star out of India; love Mads Dixit. Madhubala was great. Presently, Vidya is interesting. Like Nandita Das. Chitrangada, I feel, after Smita Patil, is the single most ‘thinking’ man’s intellectually and erotically stimulating woman today. So if I were working in Chitrangada’s office, INKAAR would never have seen the light of the day since I would be looking forward to sexual harassment every day!! Out of the 3 Khans, I veer toward Aamir. Find SRK to be of limited talent but a very influential star nontheless. Salman is disposable/dispensable. Naseer is of course outstanding – more so when he is not suffering from the Amitabh complex. Kamal Haasan was terrific when he was working with other directors – I feel he deteriorated when he started taking on the mantle of ‘one-man-cinema’ too seriously. Of course, in all these 3 decades, NO actor for me has been able to replace AB Sr as THE actor-star par excellence. But I have a lot of problems with his choices even during his hey-days and now too. Guru Dutt, Balraj Sahani, Kishore Kumar (I feel after Amitabh Bachchan is the only actor that has been able to match Kishore Kumar in terms of depicting zany/asinine humor so intelligently and amusingly on screen). Out of the 3 triumvirates of the ’50s, I find Dilip Kumar miles ahead in terms of acting than Raj Kapoor and Raj Kapoor way ahead of Dilip Kumar overall as an artiste. Bajpayee, Paresh Rawal, Rajpal Yadav (as tall an actor in talent as any one can get), Irfan Khan.
Directors – Benegal, Girish Kasarvalli, Ghatak, Yash Chopra, Shekhar Kapur, RGV without camera orgies,
In Pardes, I love Seymor-Hoffman; Joaquin Phoenix, Meryl Streep (outstanding), Woody, younger De Niro and Pacino, Bogart, Ingrid Bergman (ethereally beautiful), Michael Fassbender (single most expressive face I have seen in decades across this side of Atlantic), Chaplin, Daniel Day-Lewis (astounding), Alfred Hitchcock (genius), Leo, Marty, Coppola when in form, Tom Cruise as an outstanding star, Kevin Spacey, Kate Winslet – a rare combination of beauty + talent, Gregory Peck, Keizlowski from Poland,
There. It is so difficult for me to choose. I just love them all…in varying degrees.
Sorry if this takes space. I hope Ami doesn’t think wish she had never asked the question!!!!
Friday 30th November 2012 11.00 IST
Boxofficeindia.Com Trade Network
Talaash opened well at multiplexes in its first shows in this morning. The opening ranged from excellent to decent depending on city and location. There were multiplexes that opened at 90% while others were at 50%.
On average it is a 70% opening at multiplexes. The film has a very heavy release at multiplexes with a huge number of shows at most properties across the country. The single screen release is more muted as the distributors did not give the film to single screen exhibitors unless they committed to a two week run.
The single screen opening will be lower as multiplexes in tier two cities have opened lower. The evenings at metro multiplexes tend to be strong for this type of a film so day one should could come out with a good total on the strength of multiplex business.
Ami and Sm, I am leaving for Abu Dhabi right now (will be checking out Ferrari World etc) so will write more later but for now I would say this – Talaash is by far the best film of the year and the best bollywood thriller ever after EHT (actually on pure filmmaking levels it’s even better than EHT though the 1st half of the latter is unmatchable in terms of sheer narrative grip. And while I like Kanoon, Johnny Gaddaar and Johnny Mera Naam more than the above 2 films that’s simply a case of personal preference). I also haven’t quite a seen a thriller like this before (in terms of the treatment of the story, plot twists etc) and all those stories of the film being inspired from Secret In Their Eyes etc are baseless. My mom too liked the film but not as much as TZP and she thought that while Aamir was excellent it was Rani who came up with the defining performance. I thought otherwise. And a very hot French chick had also accompanied us and I was ‘helping’ her with the dialogues so I might have missed some finer points of the film .one of the things which surprised me is that theatres here show hwood and bwood films with French (and not English) subtitles
Btw I would also be checking out RZA directed and Tarantino and Eli Roth produced martial art film Man With The Iron Fist (RZA, Russell Crow)- my kinda film
“TALAASH” Opens Big At Multiplexes But Elsewhere Slow
“Talaash” has taken opening on the expected lines. Film is super strong in high end multiplexes and metros like Bangalore, Gurgaon, Pune and parts of Mumbai. Film is also expected to rock in evening shows at multiplexes across the country.
Film has opened to 30% in UP, CI, CP and Rajasthan in single screens but it is around 90% in noon shows in premium one and metros. So overall film should has an opening of 60% on Day one.
Film’s day one figure will be decided by evening and night shows in multiplexes and anything above 12 cr nett will be great for the film as brand Aamir Khan will assure jumps in next two days. But a good day one will put film in good shape.
B.O. update: ‘Talaash’ has superb start at urban centres
By Taran Adarsh, November 30, 2012 – 14:19 IST
TALAASH, which had a wide release at multiplexes, opened to excellent houses at urban centres. The initial shows were superb at hi-end multiplexes, but ranged from decent to average beyond metros. The distributors have focused on multiplexes mainly, hence the contribution from urban centres/tier two centres will be maximum.
Most of the reviewers seem to by saying that one of the good qualities of the film, making it so special, is because it explores the side of Bombay not usually seen in films. It even seems to think of it as a novel idea or something.
People seem to forget that not long ago in Kahani Vidya walked through the backstreets of Calcutta, and most of the film (in fact I wouldn’t be wrong in saying 90%) is shot in these alleys and lanes.
From that point of view it isn’t an original idea unless showing the red light area makes it one. But that’s splitting hairs.
It is not Kahaani. Mumbai is only part of the film while the film dwells on experiences and moods. If one asks, is life good, bad or blockbuster, what can one say. This film deals with loss, agony and self -blame.
Rani steals the show with her simplicity, vulnerability and earthiness.
Kareena looks ethereal and acts like a dream.
About Aamir, I cant say anything as I may be prejudiced as a fan.
I specifically dealt with this point of praise that it is getting as doing something special by going to the unglamourous part of Bombay. Which is something already done by a film.
My comment did not deal with any other aspect of the film.
After RGV and Madhur Bhandarkar, there is nothing left to deal with the unglamorous side of MUmbai which is not known. But the presentation differs from director to director. It is a mumbai film, the local trains, the arabian sea, the narrow lanes, dangerous situations amidst dense traffic etc. etc. Most of the film is during night times and early hours.
OK so we’ll add Madhur Bhandarkar and RGV to the list. It does not negate my point in any way.
BTW just realised the age old cliché of a ‘fallen woman’ being named Rosy or Lily or Mary – right from the times of 50s through Guide…and now Talaash. Much as I absolutely love references to old films in modern films, this one should have been done away since long.
Before Kahani there was Dhobi Ghaat as I recall! But of course this sort of thing has been going on for a while. RGV was doing it in the 90s. I think though that it’s not as much what is shown as how it is shown. When this first started happening it was a welcome sign. But now a lot of films do it, Delhi has been over-exposed in this sense. The question then isn’t just about Bombay or Delhi being represented but how. In BM for example the city was unusually quite, a place of solitude really, not qualities one would normally associate with Bombay. In DG there was more of an art-house take on a major metropolis. So on and so forth. Kahani in any case is hardly the first film. Even in terms of Calcutta Yuva was there before in recent times. My own sense looking at the previews is that Talaash will probably have a more atmospheric (in the noir sense) take on Bombay. Kahani was an anthropological dig in many ways. Not that I didn’t like it.
my two cents on Talaash: (no spoilers, don’t worry )
Watched it FDFS – in puducherry – remember, some critical scenes from the movie are shot here. I wouldn’t be able to write much at the moment as I am totally spell-bound.
This is a hell of an edge-of-the-seat suspense drama. Although smart people shd get an inkling half-way thru abt who-is-what? anyways, aamir, rani, nawaz, reema…..they all compete each other in their respective depts. I must say a special word for Kareena – i was totally stunned by her character – thanks to the writers and directors and of-course to her. A role which she would remember for life-long. Reema said she had shot 500 minutes and to cut it down to 150 min. or so – good job. Songs appear at the most appropriate moments and take the story further…that song “na main jaanu..” is so fast-paced and picturised in a surprising manner.
Overall – fantastic movie watching exp. – not a masterpiece but crisp writing, crisp editing, deliberately slow pacing and some haunting moments alongwith superb acting and directing – 9.98765 / 10 from me
jay, puducherry is a town yet with very little hindi-speaking population. Theater was half-empty but next shows starring 7 pm today till sunday night will be housefull. Also being a suspense-drama, the audience looked hooked to it. Emotionally also feel is very strong. It is a movie to be enjoyed like sipping a hot cup of coffee on a cold-winter evening different genre than those masala stuff – u need to be there. As a cinema-lover, u wouldn’t mind watching it 2-3 times.
Saw Jab Tak Hain Jaan yesterday.
I think it was fairly decent affair, certainly watchable for the most part. The first half is fairly brisk, maybe too song heavy.
I just felt like Veer Zaara and KANK, a director should know went to END a story. This film drags for too long and has multiple ends, when you think in your mind “this is a good time to end the flick”…I found the intermission could have been the end, and a couple of points in the 2nd half. It’s probably a good 30mins too long.
SRK is decent enough, this is his terrain although he is suited looks wise and performance wise as Major Samar as opposed to Samar. The latter looks bit too aged and haggered, the former, rough and perfectly in tune with the “internal” demise he has suffered. Overall Ok film…enjoyed to a certain extent but lost the will to enjoy post interval as it dragged.
The music is OK…rahman has the knack of still doing something listenable…
Katrina was OK too, so too Anushka.
Something that is a bit odd is the language and tone…quite out there…not the clean romance you expect from YRF…I did not mind this, but can imagine it is a turn off for older generations.
Agree there Oldgold & Sandyi
Appears like someone went to rip a film apart but couldn’t bit still wants to try it
Or liked the film but can’t admit it due to fear of being ‘ridiculed’ here or failing the loyalty test
C’mon folks–if u like something or hate it–say it –why this ‘hesitation’
Oh dear…I thought I’d leave those comments cos it was OG (who I don’t give a damn about opinion wise, cos really when it comes to SRK or Aamir it is polarised views and blindfolded views) and Sandy (who is a friend so why cause a rift, let it pass as to be honest I’ve seen and heard it before from her…it was more a tummy tickling comment from her and I will get her back as in tickle her back in return one day) but you Adam or Alex or whatever your name is…no need to hold back with you. As really you’re a bit of an annoying habit.
There is no hesitation in my view. If anything, in plain english, I did not mind the 1st half which in english for you means = timepass and the 2nd half was long which in english for you means = boring. Timepass + Boring = OK for me.
OK means I am quite indifferent overall.
Just because I did not sing the films praises (like Sandy) or inequivobly support it no matter what means necessary (OG) does not mean I have a “forced” or “hesitant” or “reluctant” view.
There is no intention in my comment to either praise the film or rip it apart. As it is neither here nor there for me. Or if you would like me to talk about what I liked in the first half (some praise) and disliked in the second half (rip apart) to make you all jolly and happy then I’ll send you a xmas card with the commentary.
The problem I have with your statement and the insituation is “if u like something or hate it–say it”
Your world is black and white it seems. Either you hate something so bad that you feel the need to needle it to death…or you love something so much you feel the need to ejaculate over it. There is no colour in your life.
It seems to me the fanclub of Jab Tak Hain Jaan just wants another member to JOIN. Unfortunately this is not nursery school…so pat yourselves on the back in “uncovering” this amazing observation and get over it. It is an OK film. Nothing to diss and nothing to ride home about. I wouldn’t watch it again…but if someone asked me “should I watch it” I’d say up to you.
These “games” online are of no interest.
By the way is it Jab Tak Hai Jaan or Jab Tak Hain Jaan? It’s really important to get that right.
Ha I was checking if it is possible to irk this gentleman jay shah and yeah even he fell for it
C’mon man-it was just a prank
And no need to ‘ejaculate over it’ or whatever –perhaps that’s not appropriate here
“because I did not sing the films praises (like Sandy)”
Hmm so Sandyi loved it– is there a piece she has written ..
you should have known by now that when you give reviews for srk films and anything negativety about the films ,srk fans will come jumping and try to tell you that why?,when? and what?.srk fans thinks that bollywood is all about srk,which they think it never existed before srk…srk made indian film industry.
I watched jthj and I think it was average ,srk was ok but I think katrina made the difference otherwise this film would have made 60cr,total 80cr.
Come on. It’s all about Amir on this blog with a solid backing and all the paraphernilia that goes with it. The sheer numbers should offer a soft comfortable cushion instead of this prickly feeling that one senses in the responses of a couple of comments from Jayshah and this one.
Can’t imagine that people are getting so defensive and disturbed.
JI pleased with PIL vs IT Act by law-student-to-be from family of illustrious female lawyers
21-year old law aspirant Shreya Singhal, a graduate in astrophysics from the UK’s Bristol University UK, daughter of Supreme Court advocate Manali Singhal and grand daughter of the late Delhi high court judge Justice Sunanda Bhandare, challenged section 66A of the Information Technology Act in the Supreme Court today under which two women were booked for a comment critical of Bal Thackeray on Facebook 10 days ago. [via @sumit_nagpal and profile by Mint].
Chief justice of India Altamas Kabir admitted Shreya Singhal’s petition and said: “We were wondering why no one has approached the Supreme Court (over this) and even thought of taking up the issue suo moto.” [NDTV]
A public interest litigation (PIL) challenging the constitutional validity of Section 66A of the Information Technology, Act 2000 was mentioned before the Chief Justice of the Supreme Court today. Chief Justice Altamas Kabir directed the matter to be placed before the Court tomorrow and also asked Attorney General G.E. Vahanvati to be present the next day. The Petitioner was represented by Senior Counsel Mukul Rohatgi. Senior Counsel Harish Salve also sought to be impleaded in the matter and shall file an intervention application soon.
As i guess many of bloggers on this website are from India, and they all are under the Indian Law. (i know i am!! ) it affects not only facebook, but every comment and including this comment as i type.
I actually feel section would be preserved and some guidelines shall be issued, or Judicial Interpretation might come.
“21-year old law aspirant Shreya Singhal, a graduate in astrophysics from the UK’s Bristol University UK, daughter of Supreme Court advocate Manali Singhal and grand daughter of the late Delhi high court judge Justice Sunanda Bhandare”
Well done Freya singal
Though this description looks a cross between her cv and some matrimonial ad
B.O. update: ‘Talaash’ has superb start at urban centres
By Taran Adarsh, November 30, 2012 – 14:19 IST
TALAASH, which had a wide release at multiplexes, opened to excellent houses at urban centres. The initial shows were superb at hi-end multiplexes, but ranged from decent to average beyond metros. The distributors have focused on multiplexes mainly, hence the contribution from urban centres/tier two centres will be maximum.
The response at single screens, expectedly, was comparatively lower, but the contribution from multiplexes, from Friday evening onwards specifically, should add power and strength to its overall business.
i’ve seen several mentioms that Talaash is a “copy” of one or nore Hollywood films. Does anyone who’s seen the film want to offer an opinion on that? Especially because several people here are afficionados of HW films themselves.
1) You agree its a copy.
2) Treatment is different
Either that can be termed as COPY or INSPIRATION, that’s the question.
I may be wrong, and masters and experts of cinema can define what is copy and what is inspiration.
I believe COPY is blatant COPY SCENE TO SCENE. Like those scenes of Barfi.
Inspiration is someplace where u see a nice idea, and then u expand and create something of your own, for eg 3 idiots.
For this i believe one needs to understand meaning of copyright. Its quite complex rather than a simple copy or not.
Now i havent seen and wont be seeing the movie, but those who term it as COPY or INSPIRATION should understand and speak (not to u, but generally)
I have come across people saying X film is a copy, i have asked them question what ws copy? character, story, scene? they will come with saying it is like that movie, that kind of idea was in that movie too.. etc well i believe that at the most can be said UNORIGINAL. But Copy is too harsh a word and out of context, rather a layman’s language.
So, Raju whether the script is Unoriginal, Copied or Inspired stuff… or say completely new… that is what i shall like to know.
rooney-the-lawyer! relax man i said “evenif it is a copy” that does not mean i agree to it being a copy…….just enjoy the movie man, i can’t remember any movie while watching this – for me, thats enough
inspired stuff……i am in a fix – i can’t reveal the suspense here so i won’t go there but we have seen hundreds of such films in all languages and it will be difficult to search the root. When i say hundreds of films – it is the root idea of…….:-) well, let a week pass, we will come back to this as it needs the suspense-element to be discussed. But the point is: If while watching a movie, one gets engrossed and can’t remember any other movie – which film is the winner???
I haven’t read the reviews so couldn’t say. But will add this — it is very hard these days if not impossible to find a Bollywood film that either in its thematic/genre or technical choices or both does not owe a great deal to Hollywood or something on the film festival circuit. This includes most masala ventures too by the way. And so the question becomes: are the borrowings simply copies (say Abhishek’s Game) where even if the film is enjoyable enough it’s a Hollywood film speaking Hindi or is the mix made truly Indian (Abhishek’s DMD)? Put differently is the influence handled in a completely superficial way or is something ‘local’ done with it in a compelling way?
Here I should add that people are often unaware of the Hollywood/film festival borrowings of older eras. The 50s was especially steeped in this. But again they used the influence to make ‘true’ films. Today one sees mostly fake efforts but there are enough genuine directors around doing interesting things with these influences. I expect Talaash belongs to the latter category. On that note even a twist that is very specific to a Hollywood film can be used effectively in a ‘homage’ moment. Take satya. Bhiku Mahatre suddenly gets shot in a moment extremely reminiscent of the LA Confidential one (Spacey getting killed) but it works very well nonetheless. RGV went back to it again with Devgan’s killing in Company. Not as potently handled as Satya but still effective. There is a lot RGV owes to Hollywood in any case but it cannot be said that his films are just Hollywood efforts speaking Hindi. On a related note even DMD references this moment when ABhishek gets shot but Sippy is a very different director and handles it in his own distinctive way. Much as his entire film could superficially seem like a Hollywood collage and it literally is this in some ways but it’s so in Leone fashion where the ‘homage’ aspect is present but ultimately the film has a soul of its own.
So it’s important to not just group together very different films in this sense just because one can detect ‘influence’.
When I saw Barfi, I loved it inspite of its Charlie Chaplin’s touches. I loved Baazigar though it was said to be a copy of A Kiss Before dying. I liked Ghazini though it also was said to have Memento in the background. Many successful films have borrowed or blatantly lifted from Hollywood movies. If I start filtering every movie, I may lose out the pleasure of watching them. As long as they dont send it to the Oscars, it is ok.
I think RGV said it many times that he doesnt do anything new in this films – he just copies from Hollywood. Many times he even says from which movie he got the inspiration from. But ofcourse as you said, he makes it his own and authentic to the Indian audience..like Satya, Sarkaar etc.
All valid points satyam sir, But then there are direcotors like Sanjay Gupta who really lift movies from scene to scene (in most cases) and pretty much ruin the original for you. He as a director (almost always) has no creative input in any of the scenes that he is shooting. Ofcourse, people like RGV are lot more talented than the like of Gupta which is evident in Sarkar. When Compared to godfather, sarkar actually stands on its own. Completely different style of film-making and story telling. Yet, the backbone of the film is same. Brilliantly done. Even directors like Mahesh Bhatt have completely ruined the original, In case of The Fugitive/Criminal.
Eh, didn’t care much for Musafir baring certain portions. (loved Reddy over here though – Her dance sequence at the club was mindblowing for me – Not sure if you remember having a discussion about me being a choregrapher some time back and I had picked sameera as one of the fine dancers..this is where it comes from..lol).
Great comment Satyam. I also thought the entire episode in Khakee where Aish reveals herself as Devgn’s moll was a great masala twist. On Dmd my fav moment was Abhishek’s dialogue before his death- “dum abhi bhi thoda baki hai”- pure masala gold. And as far number of crazy plot twists are concerned no one can beat Wild Things
Btw the theatre in Dubai where I saw Talaash was housefull
good to hear Saurabh.. and yes Khakee was probably the best such effort in decades. More drama than masala in the Desai sense but the same is also true for Deewar. And you make a wonderfully astute point on DMD. It is precisely that sort of line which is crucial which is why you would never find this very masala sentiment expressed in an RGV film in similar circumstances. By the way in listing those RGV moments I forgot to add the Sarkar Raj one. So RGV does this three times and it’s very effective in each instance. But there’s a kind of progression here. In Satya you have the overlord politician who kills the minion, in Company the overlord gangster loses out to a minion, in SR you never see who actually pulled the trigger. This shadowy figure is suggested, in one of the scenes you see his boots and so on. So the ultimate Sarkar figure is brought down by a mysterious unknown figure. The classic conspiracy here of course. But the point is that in each case there is an asymmetry between the killer and the murdered one and it keeps tending in the direction of the increasingly larger-than-life figure brought down by a nobody. It is only by maintaining such asymmetry that the heroic mode can be truly denied to dying ‘hero’. In other words you need time and enough ‘elongation’ of the moment to bring out the epic/tragic/heroic resonance. RGV quite naturally eschews his mode each time. But Rohan Sippy brings it on.
I came back to your comment since I was revisiting Ramanathan’s Bombay To Goa last night (always find it enjoyable and love the songs. And Bachchan in a pink shirt is a hoot. And can’t have enough of Lalita Pawar here).Watching the film i realised that even when there are quite few so called rooted and city/town centric films happening today, sadly not many directors want heir films to romance with the cities they are set. I mean folks like Kashyap and Dhulia are so hell bent on getting in the accents and local culture that they forget how to embrace the totality and the pluralism of the cities (which was evident in so many Mukherjee/Chatterjee films but also in something like Howrah Bridge- Yeh Calcutta Hai and Bambai Shahar Ki are two of my favourite songs depicting this). Rohan Sippy thankfully is a notable exception.
Loved your ‘elonagation of the moment’ bit. And again on DMD I loved both the opening shot and the dialogue rendered powerfully by Abhishek- “Goa meri jaan, jannat ki shaan. par jannat mein bhi saamp baste hain aur saale kya dastey hain”- I found it very ironic and interesting that Sippy in BM was having a silent love-affair with a city but in DMD he is hell bent to obliterate every romantic notion about another city (whose name is often taken alongside Bombay) even when he is performing an ode to the place. And nothing can be more ironic that he chooses Abhishek as the tool for ‘shattering’ these classical romantic notions, the son of the man who in the early part of his career himself ‘journeyed’ from Bombay To Goa!
I also do think that while ‘elongation of the death moment’ is necessary for the desired heroic impact what is also important is how that moment. For example in Naam (which to my mind is the best ‘mainstream’ film of the 80’s after Laawaris and Naseeb) we have Sanjay Dutt’s excellent Deewaar like death scene but because the cinematic journeys of the protagonists in both films are placed on a different scale and also because Bhatt, unlike Yash Chopra (and also Salim Khan in the latter case), never places his leading man on any mythic pedestal throughout the film. So Dutt’s end is absolutely ‘tragic’ but not at all ‘heroic’
On a side note, I also love the fact that in his guest appearances, Bachchan while seemingly deconstructing his heroic Masalafied Vijay image, actually showed how big an influence he was on those ‘different’ films or filmmakers- whether it is that ‘asking for help on evading IT officials from Ashok Kumar’ in Chhoti Si Baat or helping Sanjana Kapoor rescue Naseer in Hero Hiralal or that scene with Satish Kaushik from Jalwa, the directors of these films use the most iconic Masala actor to deconstruct the epic world
H’mm, lots of pontificating, but Idea Unique seems to be the only one who has actually seen the film, and he is seeming to confirm that some of the “tension” elements were borrowed. Thanks for your post, Idea.
I’m sure they’re “borrowed”. But my response is ‘so what’?!
Kurosawa borrowed from Ford! Some of his own iconic shots were endlessly borrowed by others. Just borrowing does not mean anything one way or the other.
Again and as I’ve illustrated at length I know the difference between a copy that doesn’t add anything and inspiration/homage. For this very reason when we talk about ‘borrowing’ and so on almost as if there is something negative by definition here that’s problematic. Because it’s hard to think of too many films in cinematic history that don’t borrow at all. I had some issues with Dabanng for example but the fact that Kashyap’s aesthetic registers, weren’t original though often impressive wasn’t one of them. And in this sense I also don’t accept distinctions between plot devices and visual codes. Because both are very important to the text of a film. And both kinds of ‘borrowing’ have occurred very often in every cinema of the world. The question is always ultimately about contexts. Again Game and Kahani are not the same thing though both borrow.
On Idea though sure he’s saying that but he’s also calling it an astonishing film or some such thing!
@Satyam — I don’t necessarily disagree with the general tenor of your remarks, but since at this point neither you nor I have seen the film, we have no way of knowing which category this film falls in. The comments of people saying the film “copies” were from those who have seen the film, and some have mentioned the names of the specific HW film, but I stopped reading at that point.
@Rooney — Most folks on BW forums use the term “copied” loosely, which is why I have always put it in quotes. To me if a film uses the plot and characters from a source without attribution, that is “copying”, no matter how much the film has been “Indianized”. To give a non-contentious example, Salman’s film Maine Pyar Kyun Kiya was a copy of the Hollywood film Cactus Flower, which I realized from the opening scene itself. As the movie progressed, the suspicion only got confirmed, even though, aside from the opening sequence, there was no other direct lift of scenes from the original film. But the basic plot and characters were the same, even though suitably “Indianized”, with several subplots introduced that were not only not in the original, but could not be in the original, as they arise directly from uniquely Indian cultural elements. That is copying a whole film. In the Telugu film NVNV, Prabhu Deva got many praises for his debut direction, but while I was watching it, I could identify many individual scenes as being directly lifted from this or that film, either from BW or HW, and I wouldn’t call them “homage,” either, just put in with the confidence that the audience wouldn’t have been exposed to the original. At least one of those copied scenes (from the HW film Bringing Up Baby) was still funny, but to me, not as funny as the original, only because I realized it was copied. Others may not care.
@Rooney — the main way in which people in BW forums use the term “copying” loosely is that they make no distinction between unattributed copying and authorized remakes where the rights to the original work have been duly purchased. So for example, many of them will call a Hindi remake of a South Indian film as a “copy”, even though it is no such thing. Then others are so bent on denigrating Indian films that if there is the remotest similarity between the Indian film and some foreign film, they claim it to be a copy, even if there is absolutely no resemblance in terms of the plot and characters. For example, if a man and woman fall in love in the Indian film, it is immediately assumed to be a “copy” of every and any HW film in which a man and a woman fall in love, no matter who the characters happen to be, how they happen to have fallen in love, or what happens to them thereafter.
Many of Aamir’s acclaimed films from the 90’s were copies of well-known HW films, where the plot and characters were lifted in entirety. Examples are Ghulam, Dil Ke Mantan Nahin (I’m not sure I have this exactly), Akele Hum Akele Tum, Mann, etc. I could recognize the original film immediately with the opening sequence itself.
They have acknowldged about DHKMN, Mann. About others I do not know. For that matter even Josh was lifted. Both AHAT and Josh were Mansoor’s films. It happened one Night was Chori chori by late Raj Kapoor with fantastic music and then came DHKMN. Mann was known as an affair to Remember from the beginning with the cruise ship and all. Ghulam is a Vikram Bhatt movie and he is famous for that.
Howa your choreography goin kash
I’m also a bit of a mover when in the mood though not like a trained formal choreographer like u..
“this is where it comes from..lol).”
I know where it comes from an it wasn’t ‘dance’ incase of that sameera reddy track -btw he had an interesting physique
May discuss later..
Not much into choreography any longer, remember I got married…LOL..Nah just no time for time, I am a family man now, no more clubbin, dance battles etc. Mellowed a bit. Well bit of that too, But what I really took from that was that she knows her beats, and dancing game is ALL ABOUT BEATS,
See that’s messed up, A well respected and a responsible critic should NOT let the cat out of the bag. Its’ really not fair to the production house or the team that made this movie. It could be anyone’s movie, for that matter in all fairness, I am Anti-SRK and I would condemned such behaviour for his movie as well. Not jus saying cause its AAAAmir movie.
Spoiler warnings would be nice, of course, but I think the audience also needs to take some responsibility with this stuff. I mean if one is really very worried about encountering a spoiler, isn’t the easiest solution to avoid the minefield of the blogosphere? I haven’t read Rangan’s review but I think I would expect nothing less than a comprehensive piece from him. Part of a reviewer’s responsibility is to be lucid and honest about his or her experience of a work, and this does sometimes entail revealing things. A spoiler warning is a good tool, but I think some self-moderation is even more useful….
Am not sure what is a point of a review if one is not supposed to read it before seeing a movie. That is the whole purpose behind the existence of the reviewers!
Of course, we often read views/ reviews of
People whose judgement we trust even after seeing the film to compare how that read the film
But if this was a question on Family Feud- the number one reason why people read movies reviews The answer would be 90%?said- to help them decide whether or not to watch the movie!!
There’s obvious truth to what you’re saying even if I think reviews are as useful if not more useful to read after one sees a film. Especially if we’re talking about a good reviewer. But to use your own example, if you did a survey of “What’s the best way to avoid spoilers?” you’d overwhelmingly get “Don’t read reviews”!
My point is simply that especially for a movie like this, reading a review top to bottom is perhaps not the most prudent thing if spoilers are a big issue for someone. Even here I’ve mostly been skimming the comments. These days, review-aggregate sites like metacritic and rottentomatoes make it very simple to get a sense of whether the movie is getting a good critical response or not. There are options to avoid the mines!
“But if this was a question on Family Feud- the number one reason why people read movies reviews The answer would be 90%?said- to help them decide whether or not to watch the movie!!”
Have to agree there ..
A reviewers job is predominantly BEFORE a prospective viewer to guide him/her
Rangan earlier gave more priority to his own reading pleasure over the readers he is writing a review for !
Haven’t read his talash review bit is he is giving out spoilers for a talash like film –that’s an elementary mistake
Sorry rangan -I have to say as it is.!
Ps: hope rangan fans like anya don’t attack me now lolp
GF, I understand that one can avoid it but it rankles that a smart guy like BR would so non chalantly throw in a spoiler and in a part of review where one would least expect it and yes, no warming either!
I often read reviews to fo an opinion of what to expect . Some movies I watch because of the reviews and some inspite of them.
There are two types of reviewers. Those who produce superficial opinion pieces that can nevertheless provide a reliable sense of whether or not one wants to see a movie. Then there are essayists who really engage with a film on a different level – not simply appraising it but actually attempting to figure out what the filmmaker is communicating. Rangan to my mind falls in the latter category. His pieces often feel even more rich once one has seen the movie and can then take part in the “conversation” that he has with his readers.
Having said this I don’t disagree with anything you’re saying very much. And as I mentioned, a spoiler warning is very useful.
No Rajan, that’s not what you think. I feel you read in a hurry. If you like you can go back and read that the person for who it is writen is not the one which you think. It’s what happens right at the beginning of the film.
Oldgold & sanju
The issue with ‘sophisticated look’ is that for folks it works in ‘contrasts’
So a vidya balan in dirty picture somehow is more interesting to people
Similarly a rashi sawant won’t do much as a ‘prostitute’
That’s how minds work
As for Kareena -she doesn’t work as a normal girl or a prostitute –infact anything
Though here she is threatening to give a good ‘performance’ (not as a prostitute but as an actress maybe)
But then again, don’t most of the Hollywood celebs live in Cali? And mind you, some of them actually go to colder places to spend their xmas, Like NY, Denver (for skiing), to Scotland and England even.
Friday 30th November 2012 16.00 IST
Boxofficeindia.Com Trade Network
Talaash could not open well at single screens and multiplexes in mass dominated circuits and there was not much improvement in the shows after. The multiplexes are in urban cities are good but eventually there is a limit to how far these cinema’s can take a film. The single screen opening is around 40%.
The first day will come out with a decent total but not the sort of number expected from a wide release Aamir Khan film after three years. The average business in many circuits will tell on the first day business despite big contribution’s by metro multiplexes.
The business in the big circuits (Mumbai and Delhi/UP) is not optimum as if Mumbai city has good numbers, Gujarat has low figures. If Delhi city is good, UP is recording low numbers.
Despite a low-profile marketing campaign, Talaash took a bumper opening today. The film, featuring Aamir Khan, Rani Mukerji and Kareena Kapoor, and produced by Reliance Entertainment, Aamir Khan Productions and Excel Entertainment, clocked 80-per cent occupancy across territories. Reema Kagti’s second outing as a director, the movie will should steady across the next few days, according to distributors.
In Mumbai, Rajesh Thadani of Multimedia Combines says, “Talaash opened at 70-80 per cent in Mumbai and across India. Its reports are also good and almost all the night shows have been booked in advance. The weekend too is promising for the film as all three actors, Aamir Khan, Rani Mukerji and Kareena Kapoor, have a huge fan following.”
I expect a strong weekend here and expect it to do well even otherwise. In any case as I’ve said before this is the only major production I’ve been excited about all year and I don’t believe I’m forgetting anything.
this whole commentary is pretty unfair. Not that I’m surprised. You can do only so much with multiplexes is a hilarious line coming from those who supported all those SRK starrers for years! Yeah KHNH was burning up the C centers! Even K3G by Johar’s own admission did barely ok in B, C centers while KKHH did nothing. And single/double screens often behave like these centers.
I think Talaash will have a first day as strong as is humanly possible for this kind of film. Now some live in a fantasy world where Talaash opens like Ghajini or something. That’s ridiculous. And incidentally the same logic holds whether a star does a film every year or once in three years. Certain subjects just don’t attract the widest audience share. People don’t say ‘I’m not interested in this kind of film but Aamir’s showing up after 3 years so I’ll show up for it! I owe him this!’.
As for BOI forget the whole single screen thing. They’ve actually defended tons of fairly low or barely half-decent totals for films that should have opened better universally. With Talaash I always knew this was a multiplex only deal with participation for some important major metro single screens and so on.
But hey I could be wrong. if someone can show me a suspense drama in the entire history of Bollywood that opens like dominant genre commercial fare or even grosses the same I’m all eyes and ears! Again pure suspense drama and not masala fare with a suspense/thriller angle to it. Even the latter are usually not the biggest grossers.
Nope.. I have never used such a standard without taking the genre into context. Anyone who asserts the obvious has not read only a thousand comments of mine! For years I have stressed on ‘genre’ in every discussion imaginable. Now I know you would like to forget all contexts to somehow make this film into a 3I where it can then be compared to every other film which is fine but luckily your desire itself does not a plausible argument make!
You have boasted many times how Gajhani was a first, because this wasn’t the popular genre at that time – and stated – but an Amir can do it.
The archives must be full of how Amir draws in crowds ‘in spite of’ – the mark of a successful star.
Now you are parroting – in every comment – “For this genre”.
I think Ra.One MNIK and JTHJ were not genre feriendly films. The last one is not a popular genre at present. But you have always insisted that a star should be able to get crowds in, and that they should have earned more if it wasn’t for SRK’s fading star.
In fact the basis of your praise for Amir has always been the fact that he gets in crowds for films that are not massy. 3I (before it became a success) was also considered to be such a film.
If this film is a success, then what you have always praised Amir for will hold good, but you seem to feel unsure and are repeating stuff like “for this genre” as if forestalling something.
“I think Ra.One MNIK and JTHJ were not genre feriendly films”
Actually SRK has done genres not friendly to audiences all his life but let’s leave that aside. If you can’t detect the humor in those three examples it would be pointless trying to explain it to you!
On the rest actually there’s nothing contradictory between what I’ve said today and what you’re quoting. Aamir gets the biggest audience for any genre. So if you can show me someone get a better initial and final gross for the films he’s attempted, specially the ‘different’ ones, I’d be happy to stand to correction. Even with Talaash I’ve said forever, what Aamir gets here defines the limits of the genre. This might sound like an absolutist position and it is in one sense but there’s a certain reason behind it. Aamir has built up the kind of prestige and credibility with audiences where even for genres people wouldn’t normally lionize he’s likely to get a much larger cross-section of the ‘skeptical’ audience.
However this doesn’t mean that genre limitations don’t exist. Just that Aamir can override them more than any of his peers. So indeed he’s getting audiences for genres others wouldn’t but what this means is that others might get 30% of a potential audience while Aamir might get 50%. Or whatever. No contradiction therefore.
If you don’t like my answer you can call it spin as you usually do!
Well as I said if you didn’t like my answer you’d call it spin! The interesting thing here is, if you think that’s all I’m doing why do you even ask my opinion? Or if I’m only spinning why do you even bother to try and prove I’m contradicting myself? presumably if I am that good at spinning all these things won’t trip me up!
It is because contrary to what you claim you know there’s something to what I say. For instance you cannot really find me a ‘different’ SRK film (or that with any other star) that does as well or better than a different Aamir film. How do you avoid the problem? By calling every SRK failure a different film or one belonging to a different genre! Similarly the different films Aamir does are actually fairly normal commercial products. In some universe JTHJ is trickier than Talaash! Much as liking Ra One more than Inception is nothing odd because you like the genre of the latter more than that of the former (of course never knew you liked sci-fi/fantasy/superhero fare that much till SRK attempted it.. Ra One we know has nothing to do with the Hollywood genres you claim not to like). I certainly give you full marks for perversity! And I’m not making fun here. I know you’re saying all this completely seriously.
In all seriousness (!) I apply the rules far too consistently as even Amitabh Bachchan knows on his very blog. Don’t think I can be much more fair about these rules than telling the great one on his blog I don’t like most of the stuff he’s done over the past two decades or more! Of course I should add here that there are no ‘rules’ as you term them. These are just certain concerns, ideological interests and so on. I like lots of films for lots of different reasons. Including many of SRK’s work from KHKN to DDLJ to Dil Se. It’s not exactly my fault that he does RNBDJ and JTHJ these days! I do though agree with GF.. despite Shetty’s mediocrity and excess I think Chennai Express will be far better than all these efforts and probably even an enjoyable film otherwise. Wouldn’t even be surprised to see a better film than BB here.
The BOI commentary struck me as spin in the other direction — that is, they are trying to put a brave front on a not-so-good opening, something you have charged them with when they write about SRK’s films. So mainly I was struck that they were doing the same thing for another big star.
I certainly do see a change in BOI’s commentary from the time they started to now. At the beginning, they more or less called things as they saw them, and, since no one knew who was running the site, they had the freedom of anonymity, so to speak. Since then, as their numbers have begun to be quoted by more and more people as being the most reliable, they seem to have come under pressure from the big players in the industry, and now have more people to please, or more egos to keep unruffled.
Yeah sandy–u said it right-no hatchet job
TA, KN are all lying drowsy /drunk after another fans booze party, it seems
Btw I feel talash should pick up over the weekend with good wom
I will be contributing as well (amongst a few others) this weekend
I’ve seen a few low ratings. Indian Express and Raja Sen have given 2.5/5 – I didn’t read the reviews, however. I’m more intrigued by Raja Sen’s tweet on the film — It’s a Vikram Bhatt not directed by Vikram Bhatt. Is that merely referring to one of the plot elements which could be construed to be Vikram Bhatt’s favored genre? Or that it is a rip off of a HW film? I shall know in due course, no doubt.
No there’s no brave front here because the terms of the debate are just wrong. If Talaash opened in single screens the way it has in multiplexes then it would just be a Ghajini! Films that open very well in all kinds of screens generally belong to a mass format. Everyone agrees this is a strong multiplex opening. The single screen argument is simply a red herring. Also the BOI commentary cannot be taken in isolation. They play these other games where because JTHJ didn’t turn out the way they would have wished they’re not exactly eager to give Talaash everything.
And again I’ve said this for many years. There is no general 80% opening or 40% opening with few exceptions. It all depends. So you can quote numbers selectively to justify your claim. By the way Taran says the response at single screens is comparatively lower. he’s not saying it’s low in an absolute sense. Not saying I’m following him either but it’s all a question of where you place the stress. what everyone has agreed on is that the bulk of the prints are concentrated in multiplexes so even if were doing poorly in single screens it wouldn’t matter very much. This isn’t a release where you have a vast number of single screen prints. It’s much more tilted towards multiplexes here. Which is incidentally a point ‘ve made in earlier years too when people compare say a film releasing on a 1000 screens versus something on 2000. If the former has 80-90% of those prints in multiplexes and if the latter has a more equal division because of differences in genre the gross could still end up in more or less the same place. The 1000 screen release is not disadvantaged because it wouldn’t do much more if it got a lot more single/double screens.
To reframe the original point since every Hollywood blockbuster movie doesn’t open like TDK clearly there are screens or regions where those films run lower or low percentages. Similarly if Talaash were opening very strong in both multiplexes and other kinds of screens it would be D3! Or something along those lines. And here I’ve said something similar about most big releases. The trade makes a big fuss about them and throws out all kinds of absurd claims but the fact is that doing say 15-20 crores in one day for a mass market format and across a very high screen count is not very impressive at all. Which is why you see a film like Rockstar post numbers that look very strong in comparison just on the basis of multiplexes. And no one said Rockstar was stupendous in these screens. It got within a few crores of many mass market openers over the first few days. How did that happen?! Well precisely because those other films weren’t doing all that impressively. I made this point recently too. JTHJ wasn’t even doing ok in most places. If it were it couldn’t have been matched (eventually) by a film that was mostly doing well in single/double screens.
“Talaash could not open well at single screens and multiplexes in mass dominated circuits and there was not much improvement in the shows after. The multiplexes are in urban cities are good but eventually there is a limit to how far these cinema’s can take a film. The single screen opening is around 40%.”
Yeah it is a ‘different’ film and so on but aamir is coming after three years for his ‘thirsty longing’ fans
Well that’s a bit concerning
I am hoping things pick up though …
Needs to happen to keep the flag of quality cinema high.
Must agree that this commentary paints a gloomier picture than it maybe
The opening figure of 40% (!!) strikes one on the face
IF the film picks up
–it’s good n deserving not some may argue that it’s due to the film being good not the star power
But still 40% for a topnotch (no–number 1!) star after 3-4 years is indefensible in ANY genre though I have real doubts on that fire
Not seen the film but expect it to pick up big time over the weeks
Hoping for aamirs sake..
Rooney, its an exceptional movie for me. My favourite Rani has atlast got a role to showcase her talent. It is not necessary to wear makeup to get attention. Acting is what matters. Rani has a natural beauty which is so Indian. For a change, she is subdued and restrained.
It is not fair to praise only the stars. The others are no less and asserted themselves and gave memorable performances.
Just came back from watching Talaash in nyc……..I wouldn’t talk about the plot since everyone else is doing it anyway but this is NOT…I repeat not a 100 CR material movie not matter who does it. I have lowered my box office bar to about 110 – 120 CR just on multiplex strength. There is no way I see this movie running in single screen in India.
I’m no aamir hater –infact office u read my posts above –I was going gaga over tala ash Esp after reading some wom reports —
A friend whose judgment I trust ranked this as aamirs top 3 ever !
But it’s a not disappointing
Yeah it maybe wrong biased reporting most probably
But still –the 40% figure is shocking!
Like u, I hope this is just spin
Will be checking out talash on the big screen and hope it does what it deserves
Unfortunately I can’t change my stance due to ‘fandom ‘–for ANY star
Be it aamir, Salman or srk or their dads
Yeah aamir certainly has the guts- there was never a question bout it
The three year wait are a testimony
Now the big test –box office
No hirani/no munnabhai prestige
aamir with karena & rani
In a slightly different but mainstream setup
Ps: perhaps many don’t understand this
There’s a difference btw ‘wanting’ something to happen ie talash beating everything else and getting prestige and real box office facts
Let’s see the facts–& just keep fandom to one side
Let the 100 cr’s and 200 crs be the yardstick for other stars to measure their success. With AAAAmir Khan film, I’d like to know if he has made a good movie which he has been doing for the 20 odd years. With his films, I’d like to know if he has pushed the envelope a little further than last time, I’d like to see if he was able to bring another innovative way of story telling or just if he has a different story to tell. AAAAmir is and always will be ABOVE and BEYOND these 100 and 200 crs, One of his lines from Andaz Apna Apna “Main india ke liye bana hi nahi”
Talaash Takes Bumper Opening
by Soumita Sengupta (November 30, 2012)
Despite a low-profile marketing campaign, Talaash took a bumper opening today. The film, featuring Aamir Khan, Rani Mukerji and Kareena Kapoor, and produced by Reliance Entertainment, Aamir Khan Productions and Excel Entertainment, clocked 80-per cent occupancy across territories. Reema Kagti’s second outing as a director, the movie will should steady across the next few days, according to distributors.
In Mumbai, Rajesh Thadani of Multimedia Combines says, “Talaash opened at 70-80 per cent in Mumbai and across India. Its reports are also good and almost all the night shows have been booked in advance. The weekend too is promising for the film as all three actors, Aamir Khan, Rani Mukerji and Kareena Kapoor, have a huge fan following.”
In Delhi-UP, Sanjay Ghai of Mukta Arts adds, “There were heavy rains in our region last night and the weather was very cold. People usually don’t venture out to watch movies in the morning under these conditions but Talaash opened at 80-90 per cent in UP-Delhi. The numbers are expected to go up after the noon shows. And footfalls will further increase at the weekend.”
In East Punjab, Surendra Saluja of Lakshya Movies says, “The film opened at 40-50 per cent here and even the reports are not very good. Advance booking has not yet opened for the evening shows.”
In West Bengal, Debashish Dey of Aum Moviez says Talaash opened really strong in multiplexes, at 65-70 per cent. “I call this a ‘good opening’ because there was no buzz or any real promotion around the film. The numbers will rise in the first week due to word-of-mouth publicity. Weekend shows are half-full already due to advance booking.”
In Saurashtra-Gujarat, Ajay Bagbai of Rajvi Trade Links says, surprisingly, the morning shows didn’t open with great numbers in this territory, compared to other regions. “Talaash opened at 40-45 per cent,” he says.
In CP, Sarang Chandak of Shri Rang Films says, “Opening of Talaash is around 70-75 per cent in Multiplexes whereas in single screen it’s 60 per cent. Reports of the film are really good. It would have done better but some screens are still playing Jab Tak Hai Jaan and Son of Sardaar. Talaash got 110 screens in CP.”
On the other hand, Gaurav Gaur of O’Real Imaginations in Rajasthan says Talaash took a great opening in multiplexes, at 80-90 per cent, whereas it clocked 60-70 per cent in single-screens. “The night show should be almost full as half the tickets have already sold due to advance booking. Over the weekend too, the film will generate good business. And like any other Aamir Khan film, this film too will also grow with word of mouth.”
In Nizam too, Talaash opened really well, especially at multiplexes. Ravi Machhar of Sahyog Films reveals, “In Aurangabad, the film was assigned 72 morning shows and it did an extraordinary business. For the rest of the day, advance booking is quite strong and the reports of the film are really good.”
In Orissa, Jeetu Khandelwal of Movie Pioneers concludes, “This film is for the elite, multiplex audience because the response from the single-screen audience is not very good. They seem to have expected something else from Aamir Khan, who has not had a film in three years. But the multiplex audience seems to love the movie. In Orissa, Talaash opened at 75-80 per cent.”
If anyone says they found the ending of Talaash great they HAVE to accept JTHJ premise as well. LOL
Not that I minded Talaash’s ending, but then I accept such things.
If Rangan could compare an aspect of JTHJ with that of Taalash, I have more to compare, but for the sake of not giving out spoilers I’ll desist at present.
Kareena was really good, Rani too. Amir had the right expression – and he had it fixed on his face throughout.
I found a scene (a crucial one) similar to an old hindi film. Another was in a popular sitcom.
Ann–concentrate on the movie man…
R u typing away even in the middle of the show–hmm…that’s something—
If u r so dedicated to us–y not provide a live scene by scene live webinar– keep texting away live feed
A new feature here—my idea (though I can’t do that myself)
of course you are. satyam is not reciprocating your feelings, so you have to look elsewhere.
i was busy catching an afternoon show of talaash at a small theater in nyc, it was about 60% full and saw a long line enough to fill it to capacity waiting for the next show as i was leaving.
anyways, here’s my spoiler free take:
the film was engaging; an audience that for the most part refuses to watch anything beyond the dabanggs and the housefulls will probably find it slow, but i didn’t mind the pace. despite being a suspense/mystery, i can understand why aamir was emphasizing on the drama part, because this is definitely not a thriller. this is, more than anything, a story about grief. and much less mainstream ‘entertainer’ in any sense than even the promos suggested. this is an atmospheric, mood and character-driven tale of emotions simmering under the surface brought to a head by a certain incident.
i think luck by chance had the most interesting opening credits of any hindi film in recent memory, and i couldn’t help think of that as these credits rolled, although these are not as good. but attention to little things was just as evident and interesting here (a hooker trying to cover her bruise with make-up for example). little moments, tiny details and performances are what make this film. kagti had said that she wanted these particular players, especially actresses, due to them bringing a certain gravitas to the proceedings. and this was obviously the right decision. in a time when jha casts katrina in the role of a hindi speaking politician because, well, she is hot you know (or so i hear), it was a great decision not to go with any of the younger but completely interchangeable ‘heroines’ working today. these are not typical women oriented author backed roles but both rani and kareena looked better and were more graceful and restrained here than they have been in years. this is also aamir’s most performance-oriented role in past few years as he has been focusing more on stories and taking a total back-seat when necessary such as in tzp. but he makes full use of the opportunity here. this is a man hanging by a thread, his body tense and almost bursting with relentless grief; you can feel the relief when he finally lets go (the lady sitting next to me started crying, heh!). nawaz is brilliant again, though his is the more ‘obvious’ role here. aamir and kareena shared some of the best scenes and had good chemistry. the film is technically perfect and looks gorgeous. music is just right; not a ‘chart-bursting album’, but a good film score, accentuating and punctuating in the right places and not overwhelming the narrative. the big moments are not announced with deafening flourish but are unveiled in a sense, that actually makes them more effective.
being a logical person, i shouldn’t prefer this sub-genre of suspense. but it can be great when done right; some of the most popular and iconic films in bw and hw have fallen into this category and i have enjoyed them.
nothing the film has to offer is particularly new, especially if you like the genre and watch a lot of it, indian and foreign. and this is not a flawless film by any stretch, people will also see the twist coming after a certain point as the scenes themselves make it evident. but is genuinely engaging and thoroughly watchable, mostly due to the team involved (creative as well as technical). the bar in the hindi film industry has been so pathetically lowered that talaash has absolutely no problems being a few notches above what big bw stars mostly churn out in the name of mainstream commercial entertainment these days.
Thanx anya –lovely take
Like that line –“this is a man hanging by a thread, his body tense and almost bursting with relentless grief; you can feel the relief when he finally lets go “–this scene itself is worth the attendance I presume
And this is what makes cinema
I had told at the first preview after anecdotal report, that this will be an ace understated nuanced film
My interest is the genre which seems a grief-drama-introspection ‘bonanza’ (though that can be an oxymoron)
-happened to hesitatingly check dabang2 fevicol–
Horrible, atrocious, spoilt my mood–what gutter stuff
Revisited this Rahman track 2 get my sanity back
Just feel like bowing to rahmans magic here—
Brilliant music and vocals
Allah Rakha Rahman @ his ethereal best….
I am humbled by this composition- even vocals are ace wow^^
And now– the big news …
Perhaps my most awaited Indian film–seems now it will get made finally –..though with shekhar kapoor u can never know–hope he stays sane n focused this time
Shekhar kapoor–AR Rahman –Aditya Chopra (surprise surprise!)
I suspect it will be hritik and can’t rule an a-lister Hollywood actress this time….
Shekhar Kapur and Yash Raj Films have joined hands to make Shekhar’s ambitious project, Paani. Talking about this association, Shekhar said, “I have been preparing for this film for a long time, but always wanted an Indian partner that has the same passion for the film as I do and in Adi, I have finally found that. It’s a huge production that demands futuristic sets and large action pieces. With Yash Raj Films, I have found a perfect home for Paani.”
The film is based in a future world where wars over water have broken out. Water is now owned by International Corporations who use thirst as a weapon of control. In one such future city, a young love story breaks all the rules and in the ensuing war, water flows back to its people. The film will have a strong Indian and Western star cast, headed by a young leading actor from India and a young leading actress from the west.
The film, Produced by Aditya Chopra and Directed by Shekhar Kapur, will be shot in India and overseas. Music is by A. R. Rahman. Paani goes on floor mid-2013.
Ok– u will know where u heard first–straight from anecdotal account
Cast -Hritik Roshan , Kirsten Stewart, another Indian heroine (possibly PC may feature in a cameo)
Music director -AR RAhman
Director- Shekhar kapoor
Producer –Aditya Chopra
Probably -Reliance tie-up, Fox
All the best
Under the situation- The best possible confluence of art, commerce,
And perhaps the turning point in the Bollywood – Hollywood co-productions
LOL! Kristen Stewart might be an absolutely hopeless actress, but she is an enormous star. She’s the lead of one of the most succesful movie franchises of all time, and apparently she is being paid $10 million + 5% of the profits in order to star in the Snow White sequel. You really think that YRF is going to pay an actress around 50 crores + a share in the profits? And there is no way that she will act in an Indian movie (especially in a hero-oriented movie where she’s just one of two heroines) unless they make it worth her while financially.
Bollywood needs to stop embarassing themselves by putting out these silly press releases about Natalie Portman/ Kristen Stewart/ any A-List Hollywood actress starring in their movies. These women get paid millions of dollars to star in hit Hollywood films that centre around them- why on earth would they want to come to Bollywood where actresses get paid a few crores for their movies and must choose between playing the love interest in big films or doing small, female-oriented movies (Vidya Balan being the sole exception)?
Kirsten Stewart nearly onboard in principle –though the ‘technical details’are difficult to clinch–yeah
Not as difficult nowadays with expanding market–some recent suxesses like slumdong, artist, life of PI–hw looking into this ‘internationalisation’…
Though hope shekhar kapoor uncle doesn’t get more of his flight of ideas –adis no less…Watch the space…
the movie reminded me a lot of other hollywood movies but obviously the setting was totally different. the concept was similar. i liked the film. i think the acting on all parts was solid, even kareena. i think rani is great and to me was a award worthy performance in her short role. Aamir was solid but that was expected. this is a well made movie no doubt about that, the only doubt i have is the box office.
So is ‘Talaash’ anything like ‘Kahaani’, you may ask. Yes, in the way all thrillers would be like each other. But otherwise, no. ‘Talaash’ shows a different canvas, paints a different mood. A no-frills taut plot, a gripping even pace, a limited character palette, some surreal moments, ‘Talaash’ is consistent as a thriller. In fact its slow, measured to-the-point story telling is its greatest strength, even if it starts giving away the plot towards the end.
Reema’s film is somber, sensitive but above all controlled. She manages to portray the juxtaposition of Shekhawat’s personal and professional dilemma with empathy and ease. Ram Sampath’s background score is gritty just like the underbelly setting of the film.
The performances too are excellent. Nawazuddin, the find of the season, does a swell job as the crippled conniving Taimur. Aamir’s Surjan is always leashed, stingy with his humour as well as anger but utterly superb as the pivot of the film.
Rani Mukerji has a layered complex character which she plays faultlessly. Her grief is tangible and her angry outbursts heart-rending. Kareena has a flatter, glitzier part but she is also flawless.
Just back from Talaash….gem of a movie, very tight screenplay, Aamir , Nawaz and Kareena are too good in the movie…….however does not have much repeat value and the pacing is too slow for single screen and aunties……
“however does not have much repeat value and the pacing is too slow for single screen and aunties……”
i agree with that. i don’t see how this will have any repeat viewers. with the release of a mass entertainer next week and then the biggest movie of 2012 releasing 2 weeks after..it will be tough for this movie to trend well. i think june 1st (original release date) was great timing for this movie…had a 2 week free run prior to RR releasing. i think it will end up around 60-70cr none the less.
Since you have no idea whose reviews I give credibility to, it’s better not to assume things. I don’t know who Shubra Gupta is, and I pay no attention to Raja Sen, and I don’t recall ever saying I agree with either of them. There is actually no critic in India that I agree with without question.
It would in fact be better for discussions here if people got out of seeing everyone’s comments through a particular “fan filter.” If I were to follow suit, I’d have to discount 90% of the comments here because they’re obviously being made via a “Bachchan filter.” Then there would be no point to engaging in any discussion at all. Now, Munna, you rarely do this — in fact this is the first time I have ever seen you say something like this, so I am very surprised — but it only shows that even someone like you has been affected by the general atmosphere.
My question about the repeat viewing of Talaash was about the film. I wondered what aspects of the film Idea Unique felt made it worth rewatching, and why those aspects didn’t strike Omrocky the same way. That question remains to be answered.
You asked couple of obvious questions. If you read bunch of reviews or comments about Talaash it is clear that the movie has less chance of repeat viewing. Idea stating opposite could easily be reasoned. Raja Sen and Shubra Gupta are seasoned reviewers. Their biases are very obvious if you go through their archived reviews.
sm, i wud avoid responding to munna’s tasteless comparison with raja and shubhra…i would mention that it has a lot of repeat value because of:
1). Lot of details have gone into create an atmosphere for each scene – cinematography is top-notch here.
2). Background score and songs – watching them in the film really is worth savoring again
3). Aaamir, Rani, Kareena, Nawaz, Shernaz – have delivered amazing performances and there are many subtle gestures/moments I found where impeccable timing was required and they delivered.
4). Emotional quotient is high in the film and a film-buff would like the deliberate slow pacing accompanied with crisp editing
5). Climax 25 min – esp. the last sequence and the song in that last 25 min – “hona hei kya” that was an amazing cinematic exp.
I would savor the exp. of 1st watching for a week and then head for 2nd time
Thank you, Ideq Unique (sorry, it’s going to take a bit of mental readjustment for me to think of you as Raju ). You have explained very well what you like about the film. From all accounts, the main strengths seem to be the performances of the actors, which I’m glad to hear, as I like them all.
Bollywood superstar Aamir Khan plays a top cop in Mumbai working to crack in an unsolvable case in Reema Kagti’s thriller.
Some thrillers are described as taut. Talaash isn’t taut, but loose and messy, the better to allow life’s jagged edges to disturb the muscular, controlled world that its protagonist, Surjan “Suri” Shekhawat, has created for himself. When those inevitable cracks appear in Suri’s world, the film grabs on tight and doesn’t let go.
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Aamir Khan, Talaash’s star and co-producer with Ritesh Sidhwani and Farhan Akhtar, will reap both accolades and revenues from this unapologetically emotional suspense film, eagerly awaited by audiences as Khan’s return to the big screen since the 3 Idiots star’s recent turn as the activist reality show host of the hard-hitting nonfiction Indian TV show Satyamev Jayate (Truth Alone Prevails), which shines some of Khan’s star power on pressing Indian social issues.
PHOTOS: Fall Movie Preview 2012
Now, the challenge is to keep a lid on the film’s twist ending: Khan has taken to Twitter, and Facebook urging viewers: “please don’t let out the suspense!”
A top cop in Mumbai, Suri (Khan) is working to solve a crime that his colleagues say is “A-Final,” or unsolveable: at 4 a.m. a luxury car driven by a Bollywood star careened down Seaface Road, swerved right and crashed through a barrier to splash into the Arabian Sea, killing the actor.
As Suri investigates the death, which took place near a red-light district, he is drawn into the intrigue and secrets of its whores, pimps and drug addicts, most strikingly the mysterious prostitute Rosie (Kareena Kapoor) and the ambitious, crippled Tehmur (Nawazuddin Siddiqui).
Suri pours himself into his work partly to avoid his wife Shreya (Rani Mukerji), who though beautiful, loving and patient, nevertheless reminds Suri of the ache caused by the death of the couple’s 8-year-old son. Shreya and Suri cope with the pain in dramatically different ways: she finds comfort by talking to a psychic, while he scorns the supernatural and tamps down his grief.
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Under the direction of the perceptive Reema Kagti (Honeymoon Travels Pvt. Ltd.), who has assisted leading modern filmmakers Zoya Akhtar and Farhan Akhtar, performances are strong throughout, and the pacing of the film moves easily from the intimacy of Suri’s home life to the urgency of action scenes set on city streets and even on a busy Mumbai commuter train. Additional dialogue by Farhan Akhtar and Anurag Kashyap adds heft to Kagti and Zoya Akhtar’s screenplay.
Khan is an actor-turned-turned director (the excellent Taare Zameen Par/Like Stars on Earth) with memorable starring roles in the Oscar-nominated Lagaan, the festival charmer Mumbai Diaries and the blockbuster comedy 3 Idiots. Cerebral, quick-talking roles like this are his specialty, but toward the end of this film, a cathartic scene in which he comes face to face with his grief leaves the greatest impact.
Kapoor — who costarred in 3 Idiots and shares an attractive rapport with Khan — shows a new depth in the role of a prostitute who is just a bit too glossy for her squalid surroundings (the reason for this becomes clear). Mukerji (No One Killed Jessica) is warm, inviting and real; while Siddiqui, who has enjoyed exposure to Western audiences in festival films such as Gangs of Wasseypur and Peepli Live, menaces in the role of a grown son of a prostitute who will do anything to escape that world.
‘Talaash’ likely to earn Rs.15 crores on opening day despite releasing during non-festive season
From rave reviews to overwhelming footfalls, Aamir Khan’s “Talaash ” has hit the bull’s eye, despite the fact it has come out during non-festive season. Trade pundits predict that the film is likely to collect Rs.15 crores on its opening day.
Usually, Shah Rukh Khan and Salman Khan choose to release their films during holiday season in a bid to attract more audiences, however, Aamir defied the norm by releasing “Talaash ” during a non-festive weekend.
If trade pundits are to be believed the film is likely to rake in Rs.15 crores net at the Indian box office on the very first day.
The suspense thriller, starring Rani Mukerji and Kareena Kapoor, is expected to beat the opening collections of “Raaz” (Rs. 10.50 crore), “Bol Bachchan” (Rs.11.75 crore), “Cocktail” (Rs.10.75 crore), “Raajneeti” (Rs.10.50 crore), “Barfi!” (Rs.8.5 crore) – which too released on a non-holiday Friday.
amir Khan has quietly gone ahead and bended the Bollywood rule once again.
His new release Talaash opened this week on a regular Friday, which means the film is not riding the fabled ‘extended festive weekend’ bandwagon to rake it in.
The thought itself could give most of our other superstars a panic attack. At a time when excessive box-office vanity is at stake (they call it the 100-crore club), every Khan, Kumar and Devgn is battling to corner every possible holiday weekend.
From Holi and Eid to Independence Day, Diwali and Christmas, they have bulldozed all other releases off the big Friday block.
Aamir’s new film also departs from trade norms in another way. Talaash is the actor’s first release in nearly two years since the very arty Dhobi Ghat, which opened in January 2011.
Yet he doesn’t seem too bothered that his new film, an offbeat suspense thriller, is actually sandwiched between two major weekends.
Only a few weeks ago, the Diwali releases- Jab Tak Hai Jaan and Son Of Sardaar – fought an ugly battle on and off the screens. And within a week of Talaash, Akshay Kumar returns to the screens with Khiladi 786. These, mind you, are heavy-duty masala fare unlike Aamir’s latest.
But then, Aamir has always been about creating trends rather than following them. If he doesn’t mind the crowded multiplex scenario (count in Skyfall and Life Of Pi, too) on returning after such a long gap, he actually did it after showing the guts to postpone the release of Talaash once.
The film was originally slated to open in June, but Aamir settled for November 30 because he was then busy with his TV show, Satyamev Jayate.
I don’t think many big stars would dare keep a finished product in the backburner for almost six months – more so at a time when prints being leaked from film labs onto your pen drives is about a matter of minutes.
After all this, if Talaash does scale the 100-crore heights – given its optimum marketing and smart release it probably will – you will know why Aamir Khan makes all the difference.
Talaash First Day Business-
Talaash grossed a good 12.25-12.50 crore nett approx on day one due to strong business at multiplexes. Basically most circuits had strong areas and weak areas be it big circuits or smaller circuits.
A Rajasthan was good in Jaipur and Kota but rest were average, Delhi/UP was strong in Delhi city, Noida and Lucknow but other cities were not as good. Similarly in Mumbai circuit, Mumbai city recorded good collections but in Gujarat only a few cities contributed well. The South Indian circuits of Mysore, Nizam and Tamil Nadu were all strong comparatively.
It’s a good start for the film and now the key will be what sort of improvement can come on Saturday as a 12 crore first day on this release leaves room for plenty of growth on Saturday if the audience takes to the film.
there is one thing to be noted, yesterday was a marriage day, among 4 dates of marriage being 30th, 3rd, 7th and 9th.
Gujarat is loaded with marriage season (dont know the same abt other places) and even on other days in gujarat there tons of wedding. So i know of many people who would have caught the movie in gujarat yday, but are busy in family functions.
Talaash Opening Day Box Office Collections-
Aamir Khan’s much awaited suspense thriller, Talaash has done an excellent business at the Box Office on Friday. The movie had opened to a decent collection in the morning and afternoon shows on its 1st Day at the Domestic Box Office. However, it picked up well later and showed a fantastic growth in the evening and night shows.
Multiplex response was excellent, but the single screens had an average opening day. With about 90-95% occupancy at the multiplexes and 70-80% occupancy at the single screens across the country, Talaash now stands at a domestic total of about 14 Crores as per early estimates on its 1st Day at the Indian Box Office.
Aamir’s Talaash fails to break SRK’s JTHJ record at Box Office
Director Reema Kagti’s second directorial venture Talaash starring Aamir Khan, Kareena Kapoor and Rani Mukherjee in leads, has done wonderful collection at the Indian Box Office. But the movie has failed to smash the first day collection record of Shahrukh Khan’s recent release Jab Tak Hai Jaan at the domestic business centres.
Late Yash Chopra’s last directorial venture Jab Tak Hai Jaan starring Shahrukh Khan, Katrina Kaif and Anushka Sharma in leads, was released in 2,500 screens in the country on November 13 and collected Rs 15.23 crores nett at the domestic Box Office on the first day. Aamir Khan’s much-anticipated movie Talaash, which also hit 2,500 screens in the country was expected to break this record.
Box office: Aamir Khan’s ‘Talaash’ opens with a bang!
As expected, the Aamir Khan-starrer Talaash has opened with a bang at the box office. The film is doing better at multiplexes than at single screen theatres.
Directed by Reema Kagti and also starring Kareena Kapoor and Rani Mukerji, Talaash opened to a very positive response from cinegoers. The occupancy at multiplexes in the morning shows ranged between 60 to 80 percent, and the footfalls only got louder as the day passed. By evening, the response at multiplexes was just terrific. In comparison, the footfalls at single screen theatres weren’t as much, but the crowds may come in during the weekend.
Early estimates say the film has raked in between Rs. 14.50 to Rs. 15 crore on its opening day, which is a good start for a film releasing on a non-festive weekend. Trade pundits feel the film could touch the 19-20 crore mark either on Saturday or Sunday.
The critical reviews have mostly been positive and the audience response very heartening. The moviegoers have particularly liked the suspense of the film.
Not just in India, Talaash has opened well at box office abroad as well, particularly in the UK, Australia and New Zealand.
Just for comparison, Talaash has opened better than other non-festive releases of the year like Barfi! (Rs. 8.5 crore) or Bol Bachchan (11.75 crore) or Cocktail (10.75 crore).
If Talaash picks momentum over the weekend and maintains it on the weekdays, we won’t be surprised if the film enters the Rs. 100 crore-club in the first week itself.
I enjoyed Talaash immensely, but I must begin by stating that it if you’re entering the theatre expecting an edge-of-your-seat thriller, you will be deeply disappointed. The ‘thriller’ aspect of Talaash is decidedly mediocre, and much of the blame for this lies in the half-baked script and purple dialogue, which seem to be borrowed from a horror story that a ten-year-old made up to scare her friends at a sleepover. The climax, in particular, is a staggeringly amateurish piece of work.
Yet, this is still a film in which there is much to praise and appreciate: it’s chief merits are the wonderfully evocative atmosphere and the perceptive human drama that lies at the heart of this film. Talaash is blessed with an enormously talented cinematographer and music composer, and from the second opening credits roll, the melancholically beautiful, jazz-soaked frames succeed in conjuring up a vision of Mumbai that is simultaneously alluring and unsavory. We’ve seen the underbelly of this city serve as a setting for several crime films before, and whilst Talaash does not make use of this setting in any particularly innovative way, it does view the milieu with intuitive empathy instead of treating it as savage exotica, which benefits the film greatly.
And what Talaash lacks in smartly executed plotlines, it compensates for with insightful characters and moving performances. Expectedly, Aamir does very well as the no-nonsense cop who represses his immense anguish under a façade of machismo; his is a delightfully nuanced character, as is the cripple Temur, who is essayed superbly by Nawazuddin Siddique.
But it’s the heroines who deserve the real acting accolades here; Rosie is saddled with outrageously cheesy lines and ostentatious, inappropriate styling, but Kareena’s conviction and charisma lend humanity and believability to this caricature-like part. And a gorgeously earthy looking Rani manages to similarly infuse her small, sparse role with an enormous amount of vulnerability and humanity.
Finally, what saves Talaash from being just a superficially pretty mood piece is the deconstructive take it offers on the brand of bravado that we come to expect from our action heroes onscreen: the best portions of the film are those that examine Aamir’s festering self-loathing and inability to accept that he was helpless at a time in his life when his strength and skills were most needed, which contrast effectively with the off-screen self-absorbed villainy of the Bollywood action ‘Hero’ and his friends.
And whilst this movie might reveal Kagti’s scriptwriting skills to be somewhat lacking, it also establishes her as a gifted and highly capable director. I look forward to her next feature, which will hopefully employ a different, better script (and dialogue) writer.
completely agree with everything here. my take was just that it’s not really a thriller at all. otherwise agree with the obvious deficiency in the script department. seems to be a chronic problem afflicting excel. even when they have interesting ideas, they are mostly shortchanged due to scripting issues. the akhtar children have resolved this issue by just engaging in increasingly superficial work, here’s hoping kagti will go the opposite way even if the box-office is not set on fire here. i’ll be looking forward to her next venture too.
btw, excellently written piece here.
“seems to be a chronic problem afflicting excel. even when they have interesting ideas, they are mostly shortchanged due to scripting issues”
Agree completely Antya- I felt the same way when I watched ZNMD as well- Zoya the talented, perceptive director was being short-changed by Zoya the shallow, cliched writer.
But it’s not just the script- the dialouges in Talaash were pretty bad as well. OTOH, I really enjoyed the witty dialouges penned by Javed Akhtar for Luck By Chance. When Excel happens to have such a talented director in the family, why don’t they atleast let him write the dialouges, instead of entrusting them to jack-of-all-trades-but-master-of-none Farhan?
I maybe wrong but think i read/heard somewhere that Kagti/soya wrote the entire dialogues/ screenplay in english (sicnr like many of us they too think and articulate best in English than Hindi)
And then the master dialogue writer estraordinaire ie bro farhan used his ‘mastery’ over Hindi to give them the requisite indianised touch. Even of this modus operandi
Mihir Fadnavis vocies a similar opinion in his review:
“Post ZNMD and now Talaash Zoya Akhtar and Kagti seem to be a filmmaking team which makes truly gorgeous looking cinema that just barely manages to rise above the lackluster story. They manage to capture the little moments unlike anyone in the industry. Hopefully they choose a solid script next, because they’d be an unstoppable force with one of those in hand”
Actually I prefer Farhans space …
Personally this ‘jack of all trades’ business is more interesting to me as well
Rather than being a one(or two!) trick pony
As for ‘quality’ obviously he shouldn’t be dabbling with hindi dialogues but the rest of his range is reasonable (though not outstanding)
His problem has been that none of his various ‘facets’ now have the cutting edge…
He should keep one ‘steady’ and serious line of work with many other as per his interest ( I also subscribe to it ha).
thanx anya–thats an (entertainingly) original review
well done whoever wrote it
The problem is that there are some for whom if aamir has done a film or rangan has written a review and so on, the whole scenario automatically becomes ‘holy” and nearly impossible to be criticised (even where genuine points abound)
This wholesome ‘prostration’ in any majestys ‘respect/adulation’ is something that spoils the ‘objectivity’ of the whole exercise!
Besides these pieces are enjoyable reading like–
“From there began a worse kind of prositutionalising (if that’s a word) of the realist film. All you needed was your heroine in Fab India clothes, nude lipstick with lesser gloss and mascara-ed eyes without fake eyelashes, unclean-looking (‘looking’ only for that lived-in feel) houses, crowds made of junior artistes that rarely get work with Dharma and a little swearing. It didn’t matter if it was uttered with a convent-educated polish. It didn’t matter that none of it was convincing because it all looked so real. Looks after all is what Bollywood is all about, isn’t it?
And there and that’s why we are able to overlook Kareena speaking in perfectly correct Hindi and classy accent when playing a prostitute.”
hahaha who has written this? deserves a pat on his/her back..
i don’t know who is considering any of this ‘holy’ and is ‘prostrating’. i haven’t seen a single review or take that was doing that. in fact, i never notice that for an aamir film; the bar always seems to be higher and almost all remotely respectable critics and discerning audience members note the shortcomings without sugar-coating it. in fact, the dabanggs and jthjs of the world get off more easily because nobody expects anything in the first place.
this piece is underlining more general problems in hindi ‘realistic’ cinema in general and excel in particular (again the problem here is they at least try to do interesting stuff but it almost never is fully realized), which is what ami and i were discussing too.
get your point anya and agree..
“i don’t know who is considering any of this ‘holy’ and is ‘prostrating’”–dont mean u anya–but there are ‘some’ here …
My overall point is that this “some icons being above all criticism” approach isnt for me personally..
otherwise one can find reasons even to defend rangan from giving away key spoilers in a suspense / thriller film…(which was being pointed out yesterday)
again, my point is i don’t see anyone doing that except in your imagination.
and you really should read stuff before criticizing it, a good rule in life in general. rangan did no such thing. he kept things very general and included a spoiler-warningish even though he was going to say something very general towards the end. some other critics have not been so discreet, they don’t realize (or don’t care) that even giving away the genre will spoil it. unlike gf, i disagree that a spoiler warning is better, i think it’s absolutely necessary. and once it’s given, a critic can feel free to discuss whatever. so somebody said something (and later took it back and apologized) and you jumped on it, without confirming it. it’s a bad habit.
Fair enough Raju, I wasn’t aware that this is what they said. But even if it is considered to be a suspense drama, the suspense does not work as well as the drama, and IMO this is because the script lets the film down a little bit.
sanjana, i assume that you are a movie-buff like me. We have seen so many films in such “genre” that we can take such climax without falling off from our chairs but the majority of paying public in India don’t fall in this category. I guessed the climax at the half-way but for me it was the journey to the climax was really enjoyable. I must repeat on this post that that “hona hei kya” song and the picturisation caught me off-guard as I expected it in a totally different way – super……and btw, that climax sequence road shooting was done in Puducherry where I reside – so I had one more reason to enjoy that
Journey or execution is more interesting so the revelation does not matter that much. I thought the climax was in mumbai. Puducherry has also sea(bay of bengal) and all water look alike.
As for scare, I am not comfortable watching scary things with non chalance.
Thats a very balanced take and cannot disagree much.
BTW, this was NEVER promoted as a thriller. Right from the first promo, this was rather obvious. It is not even strictly a suspense film as even tho there is an element of suspense, the film is more about a couple dealing with loss where the husband happens to be a cop investigating a suspicious death. It is more about the journey than the destination/end. Will be hard for everyone to enjoy this and that will darken it chances at the BO.
As Satyam said this is not a sellout and one pays a price at the BO for this.
must agree with Rajen Ami.. Aamir on his part always said it wasn’t a thriller.. the director also said similar things. Now I’m not saying one could not get the thriller vibe from the previews but even here the ‘drama’ bit seemed more highlighted.
“It is not even strictly a suspense film as even tho there is an element of suspense, the film is more about a couple dealing with loss where the husband happens to be a cop investigating a suspicious death. It is more about the journey than the destination/end.”
I agree completely Rajen- and if you look at my comment, I did say that it worked best as a drama/ mood piece. However, they did build up the suspense element very much in the trailers IMO, and it was not very obvious to me that it was going to be primarily a human drama. I don’t think that it’s unreasonable for people to walk into the film expecting edge-of-your seat suspense, and my first line was merely meant to address these expectations.
A very insightful short piece by Ami (as always). And as much as I loved ur 2nd last para i would completely disagree with u over the ‘deconstruction’ bit. Intact i found it a very sly homage to the bravado of the masala hero- from the more ostensible reference to Ramesh Sippy’s Shaan (Mazhar Khan) to the less evident ones like Vijay from Zanjeer, it’s very clear that Kagti, a self-confessed Bachchan fan, knows her Bachchan and Masala in and out.
i actually thought that was pretty bang-on (incidentally, rangan made the exact same point). kagti has talked about being a bachchan fan and you are correct about the references here. but i don’t think it negates ami’s deconstruction point in any way, in fact it emphasizes it.
“but i don’t think it negates ami’s deconstruction point in any way, in fact it emphasizes it.”
I agree with Antya- I think that the references simply add more strength to the deconstruction. *SPOILERS AHEAD*
Tellingly, the most prominent masala reference was not in connection with our brooding angry man hero, but with the theiving, blackmailing cripple!
Inspector Shekawat was a macho, no-nonsense cop, but he was also shown to be utterly helpless time and again: in the first instance, when he couldn’t save his only son from drowning, and in the second instance, when he couldn’t conclude the case since the truth would make him the laughing stock of the department. Refusing to fight for the truth because it would make people think him unhinged, and instead meekly accepting his superior’s suggest of a two-month holiday is as far removed from the manner of a masala hero as possible!
And not only did his alpha-male heroic attitude not help him, it also hurt him: Roshni was able to get over her depression and help Shekawat deal with his problems towards the end of the film because she accepted that she was a mere mortal, and not an omnipotent hero. She was expressive of her grief, and open to the idea that there were more powerful forces in the world. However, Shekawat had a hero-complex and it was his inability to accept that he couldn’t save his son, and his repressing his sorrow and refusing to aknwoledge/ deal with his weaknesses that caused him so much trouble throughout the film.
Once he was able to let go of the hero complex, and accept that his son’s death was beyond his control, that he had to be open about his feelings and not repress them under this facade of machismo, is when his journey to redemption began.
And then ofcourse, there is the Bollywood action ‘Hero’ who is shown to be this big star who shoots people effortlessly onscreen, which contrasts sharply with the weak, immoral life he and his friends leads off-screen: they are cowards who abandon the dying woman because they don’t want to face responsibility for their actions, they give into blackmail, hire contract killers to do their dirty work and go running to daddy to solve their problems.
*END OF SPOILERS*
BTW- your opinion is a perfectly valid one, not trying to dismiss it- just thought I’ll elaborate on why I think that it was a deconstructive take.
Ami- well said but whatever u have mentioned here, i.e. personal turmoil, moments of weakness etc was exhibited very much by Zanjeer’s Vijay as well as DMD’s Kamath (who as we know was again based on the Zanjeer cop). Intact in Zanjeer Vijay also takes a sabbatical from work (sort of) and is very much shown as a depressed fellow who has nightmares. And both the nightmarish visions of the horseman as well as the ‘zanjeer’ are pretty much a part of ‘repressed memories ‘ similar to Suri’s in Talaash. And as i said before the homage is done slyly.
Btw not sure if U or anyone else noticed but in the beginning of the film when Aamir goes to meat the dead actor’s wife there is a poster of a certain film amongst many others- Cimino’s The Deer Hunter. This probably is my single fav hwood film and i absolutely loved that fleeting moment in Talaash.
Btw Ami hope we get a proper piece from (and/or Antya on this) in the coming days
I’ll agree with you completely that DMD was a masala homage, but I did not get that sense from Talaash at all. Yes, all of the references were present, but they were used in a deconstructive manner. The way that personal turmoil and weakness was tackled in DMD is very, very different from the way that it was approached in Talaash. IMO Talaash was not paying sly homage to these elements, but trying to subvert them.
“Intact in Zanjeer Vijay also takes a sabbatical from work (sort of) and is very much shown as a depressed fellow who has nightmares”
Yes, but at the end of Zanjeer Vijay overcomes these setbacks and takes revenge. Similarly, in DMD, Abhishek dies a hero’s death, fighting the wrong-doers until the last minute
In Talaash, Aamir’s moment of ephiphany comes when he lets go of his heroic notions and embraces his mortality. His happy ending is not that he solved the case, got his revenge or killed the bad guys, but that he accepted that he will not always be able to be the hero, and aknwoledged his weakness, his shrotcomings and his humanity. This is why I think that Talaash is not a homage, but a deconstruction of these references.
Look, the general buzz around the film was that it was a thriller, Aamir might have clarified that it was a suspense drama, but I did not read that particular interview(s) of his. In any case, whether it was intended to be a suspense drama or a thriller, my issues with the script still stand- I did say that it works best as a drama and a suspensful mood piece, so it’s not at all like I am criticizing it based on genre.
“but there have been enough positivity on fb,from people who know their cinema.”
Since you’re clearly implying that I’m ignorant, I apologize for my lack of cinematic knowledge- but I began the review by saying that I enjoyed the film immensely, if that’s not a positie review, what is? *sigh*
ami, i don’t think LSor anyone implied that u r ignorant or that u’ve written negative review…i guess u r reading too much in betn the lines. Thriller v/s Suspense-Drama – the script has to be very honest to differentiate these two genres
@ Ami –I am not implying that you are ignorant, or anything of the sort; just puzzled at reading totally contradictory reviews. I know a few cinematically literate people who comment on fb and elsewhere; they’ve loved the film, found it layered and meaningful. I will be watching only on tuesday afternoon, so I guess I should stop reading/browsing film discussion sites, till then !
Re:Look, the general buzz around the film was that it was a thriller,
Not really,Ami as long as one was paying attention. Sorry to belabor the point but after so many promos and iinterviews, walking into see Talaash expecting a thriller would be akin to walking into see Lincoln expecting a sitcom!
I didn’t walk into Talaash expecting anything, which is why I was able to appreciate that it succeeded as a drama and a mood piece. That initial sentence in my comment was meant to address the general expectations about the film, since most people think that it is a thriller, and they will be disappointed if they go in expecting one.
But like I said earlier, even as a suspense drama, the suspense part did not work nearly as well as the drama for me, since I thought that the script was quite weak, especially in the second half.
sm: No she liked Delhi Belly script, and she might well be cinema literate, in fact more literate than desired when you’re the wife of a superstar in Bollywood
Just felt she made a really boring film, and totally out of sync with the Indian audiences’ sensibilities. Doesn’t mean she can’t make a better film of course.
And i’m someone who is all for slice-of-life, realitic cinema but it has to engage. With DG, the theme was just too obscure, the direction very self-conscious and the performances absolutely dismal. Fine you want to make a subtle film, there are enough examples in Indian cinema itself. You dont need to look westwards for inspiration. I watched a fine film yesterday called Sara Akash. It is Basu Chatterji’s first film, adapted from a famous Hindi novel. It’s a 1969 b/w film, and the cast and crew were all fresh FTII pass outs. The film tracks 6 months in the life of a newly married couple in a joint family, who due to a misunderstanding on the first night do not communicate with each other at all. They go about their daily routine in this regular middle-class household, but do not say, a word to each other. By way of plot, there is nothing really, yet each new day finds the audience curious to know what will happens in their life. The film is subtle and slow, and was probably made in less than a lakh. Yet engaging and thought-proving it is. It is a comment on post-independence youth, who are boyant to embrace modernity and freedom and yet in-equipped to deal with marriage and their confussed about their conditioned roles as husband and wife.
It’s available online, for those interested.
sandy-obviously u are entitled to your opinion and in no way to belittle basu chatterjees film (that ive not seen)–but on dhobi ghaat, my opinion differs–
Just felt she made a really boring film, and totally out of sync with the Indian audiences’ sensibilities. Doesn’t mean she can’t make a better film of course.
“And i’m someone who is all for slice-of-life, realitic cinema but it has to engage. “–i did find it more than ‘engaging’, notsure y u didnt get ‘engaged’ though lol
“With DG, the theme was just too obscure, the direction very self-conscious and the performances absolutely dismal”–‘obscurity” of theme has never been an issue when assessing films of THIS genre
The direction was self-conscious slightly but more in a conscientious manner than in a’ self-masturbatory intellectual snobbery’ sort of way, that many confuse with auterism here
The performances (except prateek) were not abysmal
Aamir was fine and the ‘NRI girl’ (dont remember the name Shai?) was brilliant imo
Gustavo Santaolalas background score was also a highlight…to round off one of the best debut performances in bollywood in recent times –well, thats my opinion though not expecting others to agree..
overall, well done kiran rao–looking forward to your next film (if u are allowed another chance)
Thanx for the brilliant take–infact what seems to be the most original perspective on talash I’ve read on the blogosphere -well done
Respect, adulation, fandom & bias is one thing
Bit it shouldn’t cOme in the way of true appreciation and aseessment (if one is into assessment while watching films like most of us are & importantly that film is worth an assessment!)
Not sure why Amy has to follow what folks have put up in their facebook pages ? That’s a bit surprising to expect and that too from someone like LS!
That’s what fandom does haha
I may be a die-hard Aamir fan, but I can take it on the chin, if his latest much awaited release is not as good as we’d like it to be. All I’m saying is I’m puzzled at the contradictory reviews from media professionals and lay cinema-fans alike. Will not comment on this thread any more till I have seen the film, but will leave with link to this positive review ( I was not searching for p[ositive reviews, just came across it while trying to access yahoomail).
to be fair its getting lot of mixed reviews from public
i am neither a fan nor hater and there are some silly things
foe e.g there is no answer who killed shashi in the movie again the answer lies within…the grief part was even there in wooden actor john’s movie with vikram bhatt the saaya and so did his transformation….
one has to be realistic rather than having childish thought of srk sangle everywhere
This is what blogging etc is all about
Wonderful points there Amy–will be checkin this weekend and see what I feel about talaash–but this certainly seems quality stuff
“Finally, what saves Talaash from being just a superficially pretty mood piece is the deconstructive take it offers on the brand of bravado that we come to expect from our action heroes onscreen: the best portions of the film are those that examine Aamir’s festering self-loathing and inability to accept that he was helpless at a time in his life when his strength and skills were most needed, which contrast effectively with the off-screen self-absorbed villainy of the Bollywood action ‘Hero’ and his friends.”
The opening word of this paragraph should be–
“what saves this blog from becoming a fansite and a male-self-congratulatory box office penny-pound-counting-&arguing site is unbiased reviewers like Amy and anya and those who can stand their ground alone and not change their views Under pressure like Oldgold ”
Well truly –as an innocent unbiased bystander/observer–
The main ‘content’ here remains congratulation of each others posts, anything bachxhan, mani, rangan and so on (with little/no exception),
Anti anything srk, kashyap, boi, taran, nahata and so on
And pointing out the difference in box office reporting amounts in different ‘conflicitng’ Sites
In betweeen, one does get sporadic ace reviews/comments from Satyam-which are always great and welcome
But it’s the different/dissenting/unbiased views/commenters which keep the sanity (& credbility) somewhat preserved
Yup, it will be 4 continuous houseful days in Dubai until Dec 2. Despite the mixed WOM, everybody and their brother is queing to see the movie in UAE. I managed to get a few tickets for tonite, hope its a good experience.
this review is for satyam: http://www.filmfare.com/reviews/talaash-takes-your-breath-away-1802.html
esp. these lines there made me sit up and think “how if ….”
“One couldn’t have imagined him playing a mustachioed cop with conviction. But two seconds into the frame and you forget Aamir Khan the chocolatey lover boy and remember only Surjan Singh. Those remaking Zanjeer missed a cue.”
so there’s a bit of a jump Sat when most films these days either don’t show one or go down a bit even when they’re otherwise successful. Sun should be 18 crores at the very least if not more. In any case the weekend will still be in that 47-50 range. BOI will have it in the low 40s or something.
Dhoom 3 On Christmas 2013
by Box Office India (December 1, 2012)
Though the shooting of Dhoom 3 started a few months ago, and the shooting of Rajkumar Hirani’s PK is yet to start, it was said that the latter would release during Christmas 2013. However, now we learn that Dhoom 3, not PK, that will bag that date.
The reason is non-availability of leading man Aamir Khan. The actor recently shot for a long schedule of Dhoom 3 and he was to start shooting for PK a few weeks from now. But he’s decided NOT to. And early next year, Khan will proceed with a major shooting schedule of Dhoom 3, giving PK no chance to go on the floors.
Going by Khan’s schedule and his unusual commitment to a project, it’s pretty obvious that PK won’t roll before mid-2013. This means just one thing – that the actor’s next release would be Dhoom 3 and it will release during Christmas next year.
Talaash Could Hit 40 Cr Plus At The Weekend
by Soumita Sengupta (December 1, 2012)
Aamir Khan’s Talaash earned Rs 12 crore plus on its first day and is expected to hold steady during the weekend. If all goes well, distributors predict the movie could clock Rs 40 crore plus over the weekend.
In Mumbai, Rajesh Thandani of Multimedia Combines says, “Talaash opened with average numbers yesterday but by evening, most of the evening and nights shows were house full. On day one, the film earned Rs 5.5 crore in Mumbai and almost Rs 13 crore all-India. It I expected to remain steady at the weekend too.”
In Delhi-UP, G D Mehta of Bobby Arts International adds, “The evening and night shows on Friday did very well, especially in multiplexes. On day one, Talaash earned Rs 3 crore plus in Delhi-UP and is expected to do even better at the weekend.”
In East Punjab, disheartened Surendra Saluja of Lakshya Movies says, “Talaash earned Rs 1 crore plus on its first day in East Punjab. We had expected more since it is an Aamir Khan film. Reports of the film are very mixed. Some people liked the film while others didn’t like the climax. So the first week will depend on the weekend collections.”
In West Bengal, Debashish Dey of Aum Moviez says Talaash is doing very well in multiplexes but because of its unexpected content, the film has drawn a mixed response, “The first-day numbers of Talaash in WB are around Rs 66 lakh.”
In Saurashtra-Gujarat, Ajay Bagbai of Rajvi Trade Links says evening and night shows were almost house full on day one. “In our region, the first day collections are Rs 1 crore plus. The numbers should hold during the weekend too.”
Gaurav Gaur of O’Real Imaginations in Rajasthan says the audience is disappointed with Aamir Khan. “Collections on the first day are Rs 67 lakh in Rajasthan, and reports of the film are only average because the content is not great.”
Talaash opened well at around 65% at multiplexes while single screens were around 40%. The huge number of screenings at multiplexes will mean a healthy first day total. The best performance was in the big cities of South India. The film will require good growth on Saturday to put up a big weekend figure.
Jeet Lenge Jahaan is a washout as shows were cancelled at most places.
Jab Tak Hai Jaan fell in its second week collecting around 17.50 crore nett and taking its two week total to 100 crore nett. The film has dropped heavily at the start of its third week.
Son Of Sardaar also dropped in week two collecting around 17 crore nett and taking its two week total to 87 crore nett. The film was also down badly at the start of its third week.
watching the film this afternoon but I’ve been getting reactions from a lot of friends and of course I’ve seen many of the responses elsewhere. I think my hunch is essentially confirmed. It’s a rather dark, unrelenting sort of film. No light relief if you will. Now with a film like Kahani you have a serious suspense film but it’s not otherwise ‘dark’. The opposite is true for DMD. The point is that Aamir once again has not really made a sell-out film and this is precisely why I was never sure whether it would do a 100 crores or something higher. I was betting more on the former but I wasn’t sure. Why? Because from the trailers and from everything else one could glean about the film it seemed like a pretty dark drama. However there was a chance that the film would turn out to be lighter fare than the previews suggested. I don’t believe that’s the case knowing more now. So 100 crores for this kind of deal is extraordinary. I’ve said this from the very beginning. No one gets more than Aamir for any given genre. Specially so for the ‘different’.
In terms of the ‘mixed response’ and so on all of this remains to be seen. The numbers seem fine so far, in fact I’d say they’re very good. It’s a multiplex-only deal more or less, and it’s doing as much as Bol Bachchan on day 1. The latter was for every kind of center. So not sure what the problem here is?! It’s not just BB, many films along similar lines are in that 11-14 crore range. They have higher print counts and they cover all kinds of screens. But leaving this aside when you have this sort of film of course you will have many people not love it or not like it. So what?! This isn’t D2 where even if you think it’s ok or not great you still show up and so forth. The mass market film always has a wider audience pool to play with. Or any sort of film for a much more general audience. So a film like ZNMD is only for the multiplexes but within this group no one has a problem with it. But not everyone even within that target demographic necessarily wants a dark drama! And so once again it’s Aamir’s prestige that gets the biggest share of the audience in. However this does not mean that the essentials of the film change. So once again the reactions are perfectly understandable but more importantly speak to the film’s strengths. I am far more skeptical about different films that don’t displease anyone in the media and so on. Because that tells me they’re not really pushing the envelope in any sense.
Speaking for myself this was the only major film this year I was truly interested in and with all the responses I’ve seen since release I am even more excited now.
Satyam, can’t wait for ur review man. This film could not have any lighter moments (there are many delicate and gentle moments though) otherwise it would simply kill the tension which is the pivot of such films. Don’t worry – film will cross 100 cr very easily despite all odds
We have already had a oreview of what the review is going to be. Satyam in his review is going to showcase;
-how superior, subtle and intelligent it is which of course will keep the majority away,
-how brave Amir has been to act in such a film
– the film as a major dark film as none other,
That there have been previous films with emotion, tragedy, and ‘the other thing’😉 will not be considered.
The hardest he’ll work at will be to convince (mainly himself) that such a film getting even a 100cr is a feat never ever achieved by anyone – only God would have succeeded, none other.
The fact is I dont have to try as Aamir has established himself very firmly and does what he does with conviction without pandering to the lowest common denominator. He has prestige and success and he does not need mine or any one else’s endorsement. Your aging and fast fading beacon unfortunately is in a different situation and his fans have to do countless contortions to discredit others. Unsuccessfully, I might add.
But it is a waste of time engagingg with you on this matters. You live in an alternate universe and have no p0roblem making outirght dishonest claims and arguments. I do not want to disturb your alternate reality and feed your vile hatred for a star who is firmly entrenched at the top in terms of BO and quality.
>He has prestige and success and he does not need mine or any one else’s endorsement.
He doesn’t? WOW. He’ll be the only star not to need that.
> Your aging and fast fading beacon unfortunately is in a different situation and his fans have to do countless contortions to discredit others.
😦 Very sad about the fading. Lets hope the low collections don’t fade Amir away.
>I do not want to disturb your alternate reality and feed your vile hatred for a star who is firmly entrenched at the top in terms of BO and quality.
Then why are you looking for excuses to forestall any low BO numbers?
Show confidence. Be brave. Be happy. Don’t worry.
didn’t liked the movie but ya getting 100 cr itself will be big acheivment and for me it certainly makes aamir number1….
previously no other dark movie has even reached 50 for the genre and even for such genre to exceed one need stars to be at their peak….vidya was coming after dirty picture and aamir years of goodwill as for critics many praising it because for them its entirely a new deal for them as such a genre is coming after a long time …a talaash may be dark but a kahaani was far more realistic and again has much better script and fast pace than talaash which people ignore and even more taut
Comparing Kahaani and Talaash is like comparing two different genres. Rockstar, did you watch the movie till the end??? How can you compare the two and complain about ‘realism’ given the twist??
Kahaani was fine for what it was but a totally different film.
rajen most of intelligence operation is like that unlike the tamasha world of ett and they penetrate system like that what was so unrealistic in twists except for first scene because a pregnant lady can be easily scanned in airport (may be she was before there)….
when we had the last original taut thriller in recent time
Had no problem with Kahaani.In fact enjoyed it quite a bit. My point Talaash is a different film even if superficially the same genre and again hard to drive home the point without revealing what should be by now the obvious spoiler.
One expects people like OG/AA to argue that it is the same genre but you – I wouldeexpect to know better.
Don’t worry rajen – ALL the *knowing better* people will have seen the film soon, and will be joining you at the spindle to spin and spin and spin.
I’ll leave you all to do your spinning then, because in the whirring of the spindle and the chatter of the quality of the yarn it would be difficult to point out that the thread is getting thinner and thinner and there is a danger of it breaking.
But before that;
-I liked the film
-found Kahani’s build up more satisfying to the fragments offered in K joining at the end
-loved the songs
-loved the acting of the women
-Amir was very one dimensional
-didn’t find it exceptional though
-the ideas were not new
-like the emotional content
All the above is my opinion.
It’s the spin in making it look greater and calling people names because what was expected may not happen at the BO.
Don’t give excuses IF the BO fails to keep up as expected.
Kahani was of the same genre – a suspense. Only a different ending doesn’t change their genres. Don’t look for excuses.
There have been innumerable films with strong emotional content too.
I’m not saying T is not a good film. It is and I liked it a lot (sorry for liking it since I’m sure I’ll like JTHJ also when I buy the DVD) – but to spin so hard in trying to make it look like some unique film is the height of not speaking the truth.
its not unique but certainly a new film in a sense as its coming after a long time…
dk has madhumati ….there had been woh kaun thi, mahal …sunil dutt had mera saaya a vintage only ramu has touched recently it with kaun
and ya getting 100 cr is a big deal for such genre even yash chopra when he made itefaq a much superior suspense drama it fizzled
atleast aamir khan is trying but there is also a star who has lifted the same climax of madhumati in masala thriller(om shanti om) without giving any credit and there is another who makes a gem called suryavanshi
The endless baiting you”re indulging yourself in old gold is getting tiresome, even for lurkers like myself. You clearly have nothing to add except to instigate and stir and taunt people for their opinions and preferences. It’s childish and getting embarrassing now.
where has satyam said it is “not entertaining”, he said that it is a dark film and that too he has heard. Satyam, in my opinion, has a broader taste of cinema and diff. genres and dark films can also be entertaining……afterall it is cinema.
No that’s not what I meant.. I obviously knew this wouldn’t have a comedy track! But take sarfarosh, this is a character-driven drama, doesn’t have comedy but it is overall easier to take and it’s a more accessible narrative within the format. Much as RDB was a risky film in some ways but wasn’t inaccessible for most of the audience. The distinction here is that there are certain limitations with attracting a potential audience for a film that are based on genre. However given the right kind of film within that genre one can sometimes have a big success. Success here does not mean doing a D2! It just means being very successful for that genre. As opposed to this there are certain kinds of films that within the same genre (one not otherwise big with the audiences) are riskier projects even leaving aside the built-in genre risk. For instance Barfi did well. Not every film with this kind of protagonist or subject does so. However it was also easier to handle once you got over the genre hump. The story wasn’t challenging in any serious sense. But there could have been a much darker Barfi that wouldn’t have made half as much. It wouldn’t have been a problem with the film. It might even have been a better film. But people wouldn’t be interested to the same degree. And it’s not just India. Even in the US the Talaash equivalent can be successful from time to time but not deliver a blockbuster gross. Check out how much Shutter Island (Scorsese, DiCaprio) did just compared to Inception let alone other big blockbusters.
And as for your other comment about how I’m convincing myself that’s ridiculous. I was saying this for months. There are at least 20 comments where I’ve said this. Precisely the reason why I was never completely convinced it could do more a lot more than 100 crores if it remained the dark drama that everything seemed to suggest it was. You might choose to forget but Alex kept suggesting I was lowering the bar. I wasn’t. I never play to blogosphere politics when it comes to setting these bars. I say what I believe in. This as true when I thought Guru could do 50 crores and no one else did and it’s true now. Again Guru was not a universal genre but once you got over that factor it was a very accessible film. Dil Se wasn’t. You could fix a few things in Dil Se and it still wouldn’t work.
The whole idea that many peddle here, whether for partisan reasons or otherwise, that a star should get the biggest numbers irrespective of genre is pure unadulterated nonsense. And finally on Kahani it absolutely wasn’t a dark film. It didn’t have anything to disturb anyone. It was a suspense narrative with that Calcutta feel to it and a twist at the end. Nonetheless that it got as far as it did was superb and which is why Balan got a great deal of credit for doing so. Holding the film together, being authentic for the part and so on. It’s not every day where such a film with a female lead does this. Similarly subjects like Talaash are not big. Take DMD, a film which had truly strong previews (the first one was outstanding), looked a lot more hip and so on, Abhishek was at his lowest box office point, it didn’t get an initial, but even at that lowest point Abhishek would have done far better in certain other genres. Because actually even at his hottest in 2005 BM still didn’t open huge. It was a niche deal, primarily dependent on some big city returns. Rohan Sippy doesn’t make the sorts of films that do 100 crores! Unless he truly changes course one day. It’s not as if you put a big star in DMD and it is suddenly a massive success (though it could certainly have done double its eventual gross). In 2004 SRK was getting big initials but Swades got a less than average one despite being the Lagaan director’s first film. There are always these factors. One can just be a partisan and pretend otherwise but these are the facts. Again back to Talaash, my best case scenario here was always something around 100 which I considered excellent for this subject. The only reason I even suggested it could be 150 or whatever is that I left open the possibility the film might not be as dark as everything else was suggesting. But I never really believed this. Everyone knows this. I was ridiculed for not going for the higher numbers, not being ‘confident’ and so on.
I don’t say all of this to just convince you because you are beyond this where Aamir is concerned but for others reading this. One must be clear and precise about this stuff. When you keep saying that I just spin stuff what you don’t realize (and pretend not to) is that I operate with the rather unusual (for many!) ethic of actually knowing what I’m talking about before I start saying it!
Watched it yesterday.
A very well made and well acted movie.
Not sure about the box office prospects.
It is NOT a thriller and was not promoted as such.It is a suspense drama all right. The biggest problem one can have is whether they buy the story or not and hard to expand the point without giving something away.So, will resist.
Aamir promoted it as a suspense film with emotional content and that is what it is. Is unrelenting and dark. So BO prospects are uncertain.
Some have been harping on what it should do given Aamir is back after a while and Rani/Kareena’s presence in a ‘mainstream’ film without understanding ANYTHING.
Kahaani was a much different film and much less dark.
It is to Aamir’s credit that he made this film and gets kudos for selecting such projects and being able to give them some viability at BO ,even if not a monster hit.
This CANNOT be compared to Barfi or Kahaani in terms of BO.
The real measure of success here is would any other major star have been willing to be a part of this film and how far would they have carried the movie on the BO front. The answer to first question is an easy No and to the second – not as far as this one will go.
Idiots with heads stuck up their rear will regard these as excuses or being defensive but this is the truth as far as Talaash BO goes. Nuance is lost upon some, some are driven simply by agendas and some are just playing mischief. But then, what would blogs be if these people were not here to beat up on??
BTW, those who liked JTHJ would be well advised to stay away from this film as I doubt if there is any living person with a sensibility rhat can appreciate tripe like JTHJ and finer films like Talaash at the same time. I would think they are genetically and intellectually challenged in terms of being able to understand something subtle or understated.
“rhat can appreciate tripe like JTHJ and finer films like Talaash at the same time”
thats what differentiate unidimensional autistic ‘rogues’ (like rajen who can only think in only one axis) from flexible, evolved humans
And there are some who rant in the expectation of attention from time to time (like rajen again)–all he gets mostly is a kick on the backside and outright rejection hahaha
Thank you rajen for your analysis of the human qualities and their sensibilities.
That there are less people with superior sensibilities is going to be a major reason in making Talaash do less at the BO.
I suggest cloning the majority on the blog here – even the already existing clones (sub cloning so to say), and let them lose. They will defintely raise the BO possibilities.
And please – I said **cloning** NOT *clowning* (you *have* to stop doing that in this moment of crisis).
The moment when Aamir’s side kick keeps saying “sir main baad mein aata hoon” and Nawaz’a mobile ringing when he claims to not have money to buy food had the entire hall erupting in laughter….other one was Aamir’s asking who is leaking info to the press……..
Amarchand, Wadia Ghandy lead PVR’s $100m Cinemax takeover
Amarchand Mangaldas Delhi advised cinema chain PVR, which is buying rival chain Cinemax India by acquiring shares from the promoter – who are advised by Wadia Ghandy – and a subsequent open offer valued at around Rs 540 crore ($100m).
Petition challenging Sec 66A IT Act: SC issues notice to Central Government; Asks Maharashtra government to explain the arrest of 2 girls in Facebook row
The Supreme Court has today issued notice in a petition filed by Shreya Singhal challenging the constitutional validity of Section 66 A of the Information Technology Act, 2000.
A division bench headed by Chief Justice Altamas Kabir also allowed the impleadment of four states including Maharashtra, West Bengal, Delhi and Puducherry.
The Court also asked the Maharashtra government to explain the arrest of Shaheen Dhanda Shaheen Dhada and Rinu Shrinivasan in Palghar in Thane district under section 66A.
Attorney General GE Vahanvati said, “Please examine Section 66A of the Information Technology Act, 2000 and I will assist the court on this issue.”
“An abuse of the section does not make it ultra-vires. This section is based on similar provisions in other jurisdictions such as 2003 Act of United Kingdom and the 1996 Act of United States (on the IT laws)”, said Vahanvati.
The Attorney General said that Section 66A was “well intended”.
He also brought to the notice of the Court the recent guidelines issued by the government, which say that cases to be registered under the provision of the IT Act has to be decided by senior police officers.
Watched the movie in Noida tonight show, which was housefull. And 3 years of wait has been worth and movie really exceeded my expectations. Reema took time to build up the first half as it required that kind of deft handling and second half was one hell of an experience with last 20 minutes really gave me and my friends goosebumps as we didn’t expect that kind of ending, which really proved and reposed our trust and conviction in Aamir’s HATKE image. Songs really blended with the narrative so smoothly without dragging the movie and background score was very effective, kudos to Ram Sampat for giving a very apt score as it really amalgamated with the plot and Javed Akhtar wrote fitting lyrics to suit the situations where these songs are played.
Performance wise each and every actor played his or her respective part with finesse. Kareena looked sultry and played the part with gusto, while Rani looked beautiful and suited the role of beleaguered wife and bereaved mother with effortlessness. Nawazuddin played his part as if it was written for him only, but standout performance was from Aamir, who had to be restrained and seething at the same time, as his was a very nuanced role, which required angst internalised in his persona. He acted with lot of brooding as he was not able to accept the truth as it was and really made an indelible impact with his personal agony through his internalisation. Overall after RDB, this Aamir performance stands out and will be among his 5 best in my humble view.
Just got back from a houseful show in Wafi Dubai. The stunned silence at the interval pretty much summed up everyone’s feelings. There were murmurs of discontent due to the unexpected twist in the end, but even then, people could not stop discussing the ‘twist’ on their way out. IMO, the only people who did not like it are those who just cannot see anything other than masala. One really cannot expect them to like a dark fare such as this. However, even a hater who can sit through a taut intense movie should appreciate the fact that this sort of a well made movie of its genre has not been attempted by any major star in the last decade (Maybe fans of Akshay will vouch for Tasveer, but that is miles behind in terms of script and direction). There are obvious shades of hwood, even then, I felt that the script and execution were excellent.
In terms of performance, it was a Aamir-Kareena-Nawazuddin show all the way. Man, this Nawaz guy is a real find. His range of characters in the last 2-3 years has been so convincingly played, he should be winning all sorts of awards.
Despite the leaking out of the suspense, I actually feel now that the WOM of this movie is pretty strong. Those not content with the ending are nonetheless recommending it as a must-watch. No wonder it is running to packed houses here in Dubai.
There is repeat value for people who have not seen the Hwood comparables, for whom the twist was a indeed a shocker. There were a couple of such people in my group, who were tying the loose ends after the movie and were thinking of a second watch. Personally, having known the twist beforehand, I was trying to judge how seamlessly it had been integrated into the story. Did find a few loopholes which I will discuss when the curfew on spoilers has been lifted on the blog
Mendes’ Skyfall: adding the dark, dour, poignant to Bond
Hoped to catch talaash but the company 2nite aren’t in2 Bollywood!
Tried selling it to them–‘aamir khan who?’ types
Did notice that talaash nearly houseful.
Anyhow am relieved at escaping twilight (narrowly)– deal–skyfall!
Well, found it better than I expected
Mendes has done a good job and has probably single- handedly given this franchise a fresh lease of life
Nothing exceptional but good enough as a reboot
Loved bardem-he is simply scene stealing
-Craig, drench were efficient
May write more later–but think my sense is similar to this post earlier that I dictated to anya and she posted it as her own haha
Agree with most of this— https://satyamshot.wordpress.com/2012/11/16/jab-tak-hain-jaan-son-of-sardar-ongoing-the-rest-of-the-box-office/#comment-195724
Ps: Price of goin in a group?–more shenanigans now….ha
Definitely an average movie from Brand Aamir. In his interview with Nahata, Aamir said that the script was written 10 years ago. They should have perhaps made it at that time. This is a kind of story which has been told many times even in TV shows…
I will say those actors who refused this film will be hardly disappointed coz this is neither a Lagaan nor a TZP. Brand Aamir will take this to very good total at the BO but this is very average fare from Aamir and Excel Entertainment considering that this year we have so many good movies.
An effective thriller no doubt, but would’ve probably liked it even more had Kahaani not preceded it already. This film, though different from the latter in terms of plot, carries the same feel (dark underbelly and unexplored terrains of the dying parts of a city) and narration/investigation style with an out-of-the-blue climax. I still prefer Kahaani for its impact and Vidya’s performance to this. Not that Talaash is bad – it’s far from it, and might probably find a place in the top films of the year list by the end of year, but it’s a tad underwhelming considering Aamir’s return to screen after 3 years. Still, a film that deserves a watch for Nawazuddin’s performance, and some stunning cinematography and the opening credits exploring the shady city, which IMO leaves a stronger impression than the actual revelation😉
Amother excellent review by friend of mine, who is a journalist himself-
When a wait for Aamir’s movie culminates in this way you just know it was worth the wait as always. A film packed by a tight script, remarkable performances, blended music, excellent cinematography and apt editing makes Talaash: The answer lies within a treat to watch.
A suspense drama which builds on for three-quarter of the story and when climaxes it leaves you appalled. Not in your wildest dreams you will guess how the suspense will be revealed. There are no traditional hints which will make you believe five different results. Only when it is revealed you know what was going on.
The story is about the personal struggle of inspector Shekhawat played by Aamir who chases two truths- one inside his self and the other out side in the physical world. Rani Mukerji plays his wife Roshni and a prostitute/call girl/informer is played by Kareena. Nawazuddin Sidiqui plays a beggar Taimur who accounts or a subplot.
There is a car crash resulting in death of a famous actor. The car crashes in to the sea. Aamir son also dies in water who he thinks he could have saved. The water imagery comes alive every now and then.
How he overcomes his two major botherings- struggling with his innerself and the solution of the car crash case make the story.
Kareena plays Rosy and plays it to perfection. Her dialogues, performance and body language are all great. Rani plays the wife quite good whereas Nawazuddin plays the beggar who wants to make it big by blackmailing the actor’s friend. Nawazuddin’s performance stands out in the film.
One of the two things that is outstanding in the film is editing. The editing of the movie is brilliant. Story is more or less linear till the suspense is over. And the editor handles the climax shots remarkably. Mixing the words which meant one thing when they were said and other when suspense reveals, the juxtaposition of different shots and words from the earlier scenes, the leitmotif of water, the inner struggle of Aamir, all have been organised so well that you can’t complain.
Each word that the protagonist remembers later on and how his own words (‘lagta hai ki sab kuchh mere saamne hai par main dekh nahi paa raha’) come true at the end have been put up very nicely. Kudos to the editor and the cinematographer.
Camera guy has taken nice shots and is worthy of a special mention.
Another outstanding thing in the film is music and background score. Ram Sampat has blended it so beautifully that the music dissolves in the narrative. For any suspense or horror film the success depends on the background score and Sampat has done a great job. Neither the songs are forced nor they are meaningless as is the case with most of the movies nowadays.
Lyrics are beautiful and are not intrusive. They take the film forward and are an integral part of the film.
One let down in the film is its dialogues. Farhan Akhtar could have done better. Dialogues are not natural and flowing. The words at many places leave a lot to be desired.
Aamir’s stature as one of the best actor of the industry has been justified at more than one place in the film. Whether it is his fingers expressing anxiety when Kareena calls him to sit in her side or the scene where he cries holding a letter, Aamir shows how to act. The same scene if done by an SRK will focus on his face making weird adjustments to express anxiety but Aamir’s fingers are all you have to see and you can see how he is struggling to come to terms with a reality which will unfold in next few seconds.
Reema Kagti’s direction is a treat. Makeup-less Rani, ever charming Kareena, the lame beggar all have been handled the way try should have been. The film flows from one quarter to another. No jerks, no interplay of useless plots in order to confuse the audience, no intruding music & dance sequences, she gets it just right.
This film had all the scopes of slipping an item song (Aamir could have gone to the brothel where a bar dancer would be dancing) but Kagti is not interested as she knows the way to present the story.
When the film starts you are made to believe that the car crash is the main story and Aamir’s personal issues are a sub plot which will start and end but that’s not what happens. As the film is reaching the last 30 minutes you realise the subplot is the main thing and the main story is a support plot.
The beauty of the story is that both the plots hold each other well and result is great. The fight with the self is the main story. An unending search for the unknown and perhaps non-existent truth forms the whole story. Will Shekhawat get there, will he be able to solve the case on the personal as well as professional front and how will he do that is what forms the story.
A human’s struggle with his limitations and a fight when the reality is so unreal and truth appears irrational is what Aamir’s character portrays.
Overall a must watch for the sheer beauty of the handling of such an intricate genre. It is not a romance, it’s not horror, it’s not a bond movie either. It is a psychological war that a human fights with himself in his own limited ways of looking at things.
The best part of the film is that even if you know the suspense at last, you will be willing to watch it or the second time.
Talaash had growth on day two as it collected around 14.50 crore nett adding to the 12.50 crore nett it collected on day one. The two day total is around 37 crore nett.
The film showed huge growth in the North as day one was not too strong. Both Delhi/UP and East Punjab showed 25% growth. Mysore was also fantastic.
The mass market held collections similar to the day before. If Sunday shows the same growth again the film will come out with a very good weekend.
im sure BOI mean *27cr instead of 37cr. Anyway, taran has friday at 14.52cr and sat at 16cr. so if sunday grows again…should be at the very least 40cr weekend. lets see how it does sunday…think this will set the tone for the rest of the week.
Reema Kagti’s Talaash has done considerably good business in the overseas market. The film has reportedly fared well in UK, US and UAE.
Talaash has collected a decent numbers of 5.90 crores approximate at the Overseas Box Office Windows on Thursday (at some overseas screen) and Friday.
Aamir Khan and Rani Mukerji in a still from Talaash Movie
Starring Aamir Khan, Kareena Kapoor and Rani Mukerji, Talaash is likely to grow its overseas business over the weekend. The movie is anyways collecting good moolah on the domestic front.
One of my facebook “friend”s is one of them. He is from my college. I haven’t interacted with him but it seems he has been at receiving end of 498a…He is part of men’s right association..They write “Mra” in front of their names. They make absurd assertion like 62000 men die every year from suicide and they infer that they die because of spouse abuse. They organize meetings and talk about mens right.They were mad when Aamir showed Dowry abuse and turned against him. I saw he posted Talaash suspense on facebook Status.
It’s absolutely bizarre that these ‘men’ actually think that Indian women are too empowered/ advantaged!
And when it comes to issues like female feoticide, these are obviously gender-specific social evils- there is no culture of sex-detection and termination of male fetuses in India, so I don’t see how Aamir could have talked about that!
It’s also very ironic that these people seem to think that Aamir is giving Indian men a bad name- internationally there is the stereotype about Middle-Eastern and South-Asian cultures that the men are all oppressive of women, and to have an Indian, Muslim man champion the cause of women at such a public level, appearing on TIME, in the NYT etc makes a very powerful statement in dispelling these unfortunate stereotypes. These ‘men’s rights activists’ on the other hand, are delusional misogynists who give all of the decent men out there a bad name.
These men’s rights group are a cruel joke on women. It’s sickening and wrong thatr Aamir Khan should be targeted by these crazy selfish attentin seekers. While I’m a fan of Aamir as a filmperson, I’m more than a fan of the man who helmed Satyamev Jayate, the tv show — and am really looking forward to the second season ( which is being researched and worked upon by his team, right now). The first season had many pro-Women episodes, but rightly so. No episode was were anti-men. And so many episodes were neutral and dealt with matters that need to be talked about. I especially l;oved the episodes dealing with water conservation and organic farming, issues I feel strongly about.
I am seriously concerned about one issue not touched by Aamir last time — and I hope he will follow it up; will suggest to SMJ director Satyajit Bhatkal, vide facebook. I refer to the particularly Indian/Soujth Asian issue of acid attacks on people –especially women, since as far as I know few/no men have been scarred by acid attack. A recent news item from last week –it really has my blood boiling. Deterrent punishment is needed; the media needs to highlight this issue. It’s as bad as murder; worse, it’s living death for these victims.
I read the news last week in my print edition of The Hindu; could not find the piece in that paper’s site, but did find it elsewhere.
And it’s not like he only portayed the men to be the villains- there were so many women interviewed on SMJ who said that their mothers-in-law/ sisters-in-law had harassed them, and he also interviewed several men who were trying to help women out of these cruel circumstances (the male journalist involved in the female feoticide sting operation, the muslim men who encourage low-cost marraiges amongst their community in the anti-dowry episode etc) – so it’s ridiculous for these creeps to suggest that Aamir was demonizing men through his show. But if they can’t see that India is an extremely patriarchal culture with disturbingly high levels of crime against women, they have to be living in some alternate universe.
“Hakim was killed in cold blood in full public view on Thursday.
According to media reports, five armed men shot Hakim when he was going to the village doctor’s clinic to get medicines for his pregnant wife, Mehawish.
Talking to the media, Hakim’s brother said the assailants pumped several bullets into him.
Abdul and Mehawish had eloped from Meerut and got married in November 2010. Later they moved to Delhi. Even their family was forced to leave Meerut after the panchayat decreed death for the couple and started terrorising the family.”
good points amy and Ls
One cant compare crimes like infanticide and acid attacks to domestic squabbles
ps–though on a lighter note, one feels sorry for these poor guys who get beaten at home–face abuse apparently–they shoudl pay for their wrong decisions hahaha
alteast they serve as lessons to others…
“It is squabble if you are third party or giver..It is not for the person who is receiving the blunt of physcial/mental abuse.”
Hmmmm Munna– I see
It seems u are also at the receiving end of this ‘abuse @ home”.
The way u said that –i could sense a deep ’empathy’ with those guys in your heart
The problem in these things maybe that u cant even openly tell others
“One of my facebook “friend”s is one of them. He is from my college. I haven’t interacted with him but it seems he has been at receiving end of 498a…He is part of men’s right association..They write “Mra” in front of their names.” Munna –u havent interacted with him bocs it is YOU
ps—munna—jokes apart—anyhow we all can help
This is NOT funny for munna
thanx Amy–just ‘recovering’ from a late nite ‘movie’ — take lots of time…..though its good fun ha
this ‘firefly’ trailer seems interesting
is this guy the same who was in LBC–farhans friend who didnt make it –yeah he is talented but alas we have to endure talentless duds liek arjun kapoor due to their mom/dad/sis…
ps–liked shai in dhobi ghaat
not sure of this negativity about kiran rao– i thought she made an instinctive nuanced film that only a female can make
and shai did a good effortless natural performance
Amy–hav u seen dhobi ghaat–what did u think of the film/performances—think i missed your piece on it…
I didn’t write a piece on it but I liked it very much- it was a lovely film and Kiran Rao made an extremely promising debut IMO. However, I think that it is completely out of tune with Indian sensiblities, and marketing it in India as an Aamir-starrer (even with repeated warnings that it is no Ghajini or 3I) was a bad move. Films like Dhobi Ghat are a cultivated taste for the Bollywood audience, and there was always bound to be negativity. However dismissing a filmmaker as worthless simply because you cannot appreicate their kind of cinema is very narrow-minded. For example, I’m not a fan of masala cinema, but that doesn’t mean that I’m arrogant enough to dismiss the best films of that genre just because they aren’t to my taste.
P.S. This comment is NOT meant as a criticism of Sandyi’s views, which seem reasonable enough.
i liked dg too. as per most people, that makes me a pretentious pseudo-intellectual. i think this narrow-minded propensity to dismiss things is quite popular because it doesn’t require much debate, you can just assume it’s correct because numbers are on your side.
i didn’t think there was anything wrong with how it was marketed though. they took a film-festival route, then openly told people it was not indian mainstream commercial cinema. the fact that it was an aamir-starrer was just that, a fact, that could not be changed. that’s why the expectations despite the repeated warnings. probably would have served the film better to not have aamir in it at all. but then it would not have received the attention that it did. it’s all about the balance. it was another baby step towards providing a more eclectic palette of films to choose from for indian viewers, so these films can co-exist with the big ones. so it served its purpose. i look forward to seeing what kiran does next.
good to hear u also liked dhobi ghaat: amy and anya
I was beginning to feel lonely woth kiran rao alone(!!) as the only person liking it..
btw frankly speaking: i care a damn about how it was marketed ie festival route or mainstream or online release etc
I still wouldve liked it since the FILM was good
“perceptive” was the word and in a few scenes i could see a female behind the camera ‘adding’ some nuaces…
Im still wondering how/why it received such negativity and so few people liked it…strange…bcos if I could watch it completely on a cd with nearly zero attention span, it must be engrossing..
btw i liked aamir in it –(though prateek was crap)
But Shai was really good..
I did not like Mela (nobody did). His early films like Dil ( where he was young and handsome and that’s it)—masala stuff, quite cheesy really; Ishq–literally loud, but aamir was young handsome and quite funny.
My favourite aamir film is Sarfarosh. Like MP too, a lot.despite certain flaws; felt sorry that it did not work.
Found TZP good, AK was ok.
Liked DG, but felt it needed more meat. Aamir was just about adequate in it.
hmm good choices there, LS–since u r a sensible (though not blind) fan of aamir khan, what are your top3 aamir films..
“Liked DG, but felt it needed more meat. “–but they wanted to keep it for universal U audiences haha…
Infact Dhobi Ghaat obviously didnt release @ my end–usually never bother with pirated cds, online links at all
cant stand subpar picture/sound quality besides poor attention span
Just checked it to see the music soundtrack for 5 minutes on someones cd–ended up seeing most of it
I actually liked it a lot —maybe im the only one (other than kiran rao, it seems)
“I think that it is completely out of tune with Indian sensiblities”–hmm maybe but why do u think..
As for sandyi–her views on dhobi ghaat were not commensurate wiht the rest of her v sensible erudite views
The clincher came in her talaash post where she criticises aamirs performance/film not to aamir or the film makers but she blames kiran rao for forcing aamir to do the film
even if it was a joke, can a guy like aamir do a film bcos kiran rao has told him hahahaha
Mine would be first as an actor-not in any particular order
His movies as a whole-
10-DIL HAI KI MANTA NAHI
Personally 3 idiots was fine for me, but not as interesting as number seems to suggest. Talaash really is in top 3 Aamir’s movie of all times as it not only engaged me but took me by mammoth surprise with its final 20 minutes. Kudos for giving us another treat, which i relished while watching and would cherish for it offered something novel in terms of Hindi movies.
@LS–a really nive list and one cant disagree
and still “3 idiots could take 6th place”—shows the masterly choices aamir has made in his career….
Will hav to think for my list–havent seen 1947earth..so cant comment
On the occasion of talaash release & to ‘celebrate’ Aamir khan–what are your lists, folks..
LS–what do u think were aamirs top5 ‘scenes’ with ranking–my impression is that in some films, his performances maybe fine but he always comes up with one/two outstanding scenes that ‘rise above’ the rest of the film(more than some other actors)…
Top 5 scene
1-Denouement in Sarfarosh, where he confronts Naseeruddin shah and mouths some fantabulous dialogues.
2-RDB-When he breaks down while having dinner shows his helplessness and angst with himself as he could not do anything, was cathartic.
3-DCH- Again when he breaks down while talking to his dad over phone admitting his helplessness to come to terms with the truth that Preity was soon going to get married.
4-Ghajini-When Ghajini kills his love Asin and he could just be a helpless victim of the grisly murder in front of his eyes. Expressions made me cry over his helplessness.
5-1947 EARTH- The final scene, where he deludes and betrays the small girl by asking about the whereabouts of Nandita Das by saying that he would not divulge this secret to anybody and tells the waiting mob about where Nandita was hiding herself. His facial expressions after Nandita is captured with wry smile and smoking cigarette is mind blowing.
Ghulam’s climax fight remains my all time favorite scene with aamir throwing a stone at the villain’s window with the dialogue “bahar nikal saale….” what follows in next 20 min is pure filmi stuff but the spirit behind it is so magical that it still gives me goose-bumps
@ IdeaUnique Ghulam’s running scene against the train gives me goosebumps as it was none other than Aamir himself, who performed the scene. Ghulam has many memorable moments, one when he is asked by his elder brother to deliberately lose the boxing match as Ronak singh had taken taken money to make Aamir’s adversary the winner. When he confesses the truth to Rani that he was present when his brother was killed, he was responsible for taking him to Ronak Singh and being present at the place where all this took place. Here symbolism helped to enhance the overall impact of the scene as when Aamir is confessing his guilt, a drill is digging the land slowly creating sound which makes the conversation between them inaudible, but their gestures capture the rift being created by this revelation, marvelous scene.
thanx for the scenes and films
Think the fact that someone has the alltime best grossing film of all time in his kitty and sitll can have ten choices above that film is testimony of his success
Esp since he has done much fewer films
IMO Aamir gives a few scenes in each film that exceed the graph of the rest of hisperfomrance
There are quite a few of them
One of the best aamir khan scene of alltime (till now)
Checked Skyfall yesterday and may write something longer on it later.
Basically Mendes has injected the dour and poignant darkenss into the superspy and reinvogorated the franchise. Anya has already written an ace review on it–not much to add.
Craig, Dench were efficient indeed and so was their chemistry
Expectedly, Bardem owns every scene he appears in
Have always loved in esp in Vicky Christina Barcelona etc
Another european bardem co-admirer praised this film and handed me a dvd. Not sure if I can fit it in today. HAve just been messaged that there is an online full version with subtitles
btw have only heard good things about this film
Also shares gustavo santolalas OST (with dhobhi Ghaat)
Obviously those who found dhobi ghaat too slow/abstract or are bodyguard/ ready fans OR those who found talaash the next stage of auteurism may not like it
Not sure–If anyone interested–can check it out (and also lemme know if its worth the while)–so thats my selfish interest
December 2, 2012
‘Twilight’ Shines in Third Box Office Win Over Bond
LOS ANGELES (Reuters) – The “Twilight” teen vampire movie shined again at U.S. and Canadian box offices, earning $17.4 million and its third consecutive No. 1 ranking as James Bond held strong and Brad Pitt’s new movie struggled.
“Twilight” finale “Breaking Dawn – Part 2” finished just ahead of “Skyfall,” the 23rd film in the Bond franchise about British superspy 007. “Skyfall” rang up sales of $17 million domestically from Friday through Sunday.
“Breaking Dawn – Part 2” has pulled in $254.6 million since its release while “Skyfall” has grossed $246 million, putting both among the top films of the year.
Steven Spielberg’s historical drama “Lincoln” starring Daniel Day-Lewis took third place for the weekend with $13.5 million. Brad Pitt’s new movie, small-budget gangster film “Killing Them Softly,” grossed $7 million and landed in seventh place.
the remarkable thing is that just about no one I’ve talked to has really loved the Bond film, plenty have been very negative towards it, and it’s still done extraordinarily well (trending better than just about every recent Bond effort beginning with Brosnan’s stint). I’m probably talking to the wrong demographic!
I know reaction in the UK has been overwhelmingly positive. Some have even recommended an Oscar nod! British pride still goes a long way when it comes to Bond!
I dont read but scan usually first
my gaze saw your spoiler below and then the spolier warning above—
now i know the plot or atleast can sense it
heck !! ha\
anyhow i had a sort of suspicion about kareena…
OK…here’s the deal..the hawaldar at the beginning when talking with Aamir says ‘peechle 3-4 saalon mein aise accidents hue hain’ – so that mean, KK has been plotting throughout..if not for her, then for her fellow-mates…for her, doing it for her fellow-mates from her profession is as much important as hers…
You know the funny thing here. Taran said exactly the same thing but then came back later with a tweet saying he’d made a mistake and it was actually MNIK that was the record holder (763k). But both Taran and Nahata made the exact same mistake!
You absolutely should go. I loved the film and will watch it again at some point. I am ambivalent about certain aspects which I will get to in a piece but I still found it extremely effective and well-done almost throughout as a narrative.
Quite impressive numbers both domestically and overseas.
Await domestic weekday numbers eagerly and a little anxiously as that will determine how far it goes. Hope will be pleasantly surprised. Trending theory applies here as well to determine how well it is liked.
Apparently some folks went to see talaash today and couldnt get godamm tickets !! Very rare for a bollywood flick….
Gud to see things picking up both domestic and overseas
Have always maintained that atleast for significant releases, overseas numbers atleast us, uk, middle east do matter
Somehow till JTHJ these werent even discussed forget posted-
Have nothing against talaash or in favor of jthj etc
Alex.. it’s unfortunate to see you constantly adopt this snide tone. Nonetheless for the benefit of others I shall answer this ‘query’. SRK’s romantic films getting big numbers overseas is hardly new. But the Talaash sort of film putting up the same IS! Much as Ghajini opening better and grossing slightly more than RNBDJ in the US was also remarkable. If I had wanted to I could have made a big deal out of even the JTHJ numbers because actually they were behind SRK’s biggest benchmarks even overseas (barring a UAE). So if I wanted to be hard on SRK I could have done this. But in any case the larger point is genre. Or a film and/or star combo doing unexpected business.