A note on Talaash’s Trio


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In 2001, Aamir Khan starred in Excel Entertainment’s first and, to date, most important film. Dil Chahta Hai was perhaps the defining film for the decade that followed. In its wake, countless works attempted in some measure to reconstruct the atmosphere and general imagery (and ideas) of Farhan Akhtar’s first film, which really sold a light-as-a-feather lifestyle extremely well. This isn’t to take away from Akhtar’s other achievements. His film was also a thoughtful, well-written work about relationships, and it introduced to Hindi cinema a level of technical accomplishment, or at the very least, a level of sheen it hadn’t seen before. One wouldn’t be entirely mistaken, though, in saying that its lasting impression on Hindi cinema since its release is the now very familiar image of three young men tearing up the town, having a good time, without a care in the world. This image has been repeated with some mild revision, ad nauseum, to the point where it has become emblematic of Hindi cinema’s preoccupation with disposable narratives. The image resurfaces in Excel’s new film, (also and not without some irony starring Aamir) and although it pops up very late in the narrative, it is an image that is crucial to articulating Talaash’s central concern—which actually and subversively rests with the lives and stories that exist outside the borders of Dil Chahta Hai’s seductive fantasy.

At one point towards the end of Talaash, three young men drive around Bombay in a car, at night, looking for a good time. But things are different in this car. Here, one of the three—the driver—is trashed. Here, there’s a prostitute keeping them company. Here, a thoughtless act of aggression leaves one of the boys badly injured, while the girl is in worse shape and is literally left to die on the street. A character like her and a situation like this never belonged in the same world as three guys who could otherwise be stand-ins for the trio in Dil Chahta Hai. This is a character from the margins, someone from a corner of the city that most mainstream films are unconcerned with, someone, perhaps, from an Anurag Kashyap film. And so she is expelled mercilessly, and the memory of this scene is buried. What we see in anachronistic fashion during the course of the film is actually something of a ghostly revenge tale for this earlier trauma. This ghost refuses to be discarded or buried, demanding instead the dignity of an audience, something which can only be got through a measure of haunting and retribution. The first of the trio to die—in the first act of vengeance—is a member of the film industry. Armaan Kapoor could have been anything, but Kagti makes a very overt link to the world of Hindi movies, thereby framing a revenge tale where the unheralded players on the margins of a world turn the tables on those (figuratively and literally) listed on the marquee.

Despite this marvelous subversion and its rather thoughtful construction, the ideas guiding Talaash are often more impressive than the actual film. Among many of the uneven choices here is the casting of Kareena Kapoor in the role representative of those who live on the margins. Kapoor isn’t bad here—quite the opposite—but she’s simply miscast. The domestic drama, while not exactly boring, seems extraneous at certain points, (especially with the shoehorned song interludes) and a bit weird with the psychic angle thrown in. Finally, Kagti negotiates the genre bending with very mixed results. She takes a genuine risk by conflating the film noir and the supernatural mystery, but the resulting admixture lacks focus. The tone here is often difficult to read, and not just in a way that services the central mysteries in a useful way. And yet, for all these quibbles, this is probably a movie where one’s opinion can only take shape with repeated viewings—certainly the genre and the way in which the plot unravels invites the viewer to revisit Kagti’s work. In other words, like the lives it is most concerned with, this film is not something that can be discarded or forgotten very easily.

68 Responses to “A note on Talaash’s Trio”

  1. GF, How come you people (Satyam, Qalandar) come with such mind blowing analysis and comparisons which even nobody would have dreamt of! It’s such a pleasure to read and peruse through such gem of an analysis which brings forth another dimension which i could never have thought of even in my dreams! But one complaint, if you could address that, is that why do you write so little despite having immense treasure troves. So it is my request to you and Qalandar that let us not deprive of such pieces by taking such a long sabbatical.


    • Unless something truly inspires Satyam, he will not waste his time writing reviews on every hit, semi hit, bb. More than BO, his reviews and opinions matter most whether it is about aamir khan, mani ratnam, kamal hasan and others.


    • Thanks myselfaamir…that’s very kind of you to say and I certainly agree that Qalandar is far too quiet these days!


  2. This is a fantastic piece GF- I’d just finished reading Satyam’s note and I was about to comment on how ironic it is that the writer-director team of Talaash brought us ZNMD (which belongs so firmly in the universe of DCH) just one year ago, but you articulated my thoughts far better than I ever could.


    • Thanks Ami. I’ll have to dig up your own comment on the movie which I recall spotting on one of these threads.


        • Ami, read this for the first time and this is wonderfully concise! I should learn as much! Great read..


          • LOL! I don’t think that you could possibly learn anything from my writing Satyam, it’s embarassing that you even suggest that! 😛

            GF- here is another comment I wrote elaborating on the ‘deconstruction’ point in my initial comment (that Satyam has linked to above):



          • Thanks Satyam.

            Glad to have seen these comments Ami. Agree with Satyam that this is a nicely succinct set of thoughts and insightful to boot. Think we had similar impressions of the movie for the most part. And certainly the point on Aamir being sort of the anti-Chulbul Pandey is an important one. Didn’t think about this despite the fact that Aamir is again playing a character haunted by the memory of a lost loved one several years after first doing so in a very different film that had him in a more typically masala-hero avatar – Ghajini.


          • Interesting comment.. I thought there was a nice Shaan reference in the film (to the Mazhar Khan character) as others too have pointed out..

            on the rest I do agree that DMD is a much more formal exercise in homage in certain ways and Talaash doesn’t aim for the same. I’m just not sure whether I would call the latter deconstructive though. In fact I’d say that Sippy much like Leone in both BM and DMD is very much doing ‘deconstructive’ homage (if that makes sense!). It’s a tricky balance but I think he gets it right. However if one uses ‘deconstructive’ in a somewhat more limiting way, where it acquires the sense of cutting something down to size then that clearly isn’t either Leone’s or Sippy’s intention. Not is it that of the thinker who brought this term into vogue even if he has been gravely misread on this point by very many in his profession. Getting back to Talaash it’s true that Kagti isn’t engaged in a DMD-like exercise, at least not in any consistent sense. But I’m also not sure if she’s deconstructing, even in the more limiting sense. Having said that your point on the distinctions between the cops of Talaash and DMD is an astute one. the DMD character is still recognizably a ‘hero’, still has the charismatic appeal of one (the same is true in Leone). Aamir in Talash is much more downsized and is also not part of a narrative that gives him any such ‘epic’ (for want of a better word) mission. Also things happen to him, he is never actively master of his (or the film’s) narrative. On this score I do see your deconstruction point. I guess what I’m saying is that I don’t see an overall deconstructive impulse as tonally defining the entire work though your central example is hard to argue with.

            I guess this also illustrates GF’s own focus in a different way. The Aamir/Abhishek example from the two films argues more for deconstruction in your sense, on the other hand the Shaan moment seems like a straight act of homage. In fact the situations are strikingly similar. So Kagti plays both sides of the equation.


          • Agreed with U that it can’t be called deconstruction. To my mind the biggest deconstruction of the masala hero happened in Hero Hiralal. A related comment here https://satyamshot.wordpress.com/2012/11/29/talaash-the-rest-of-the-box-office/#comment-198306


  3. Some jokes at the expense of Talaash in various forums. Some mine.
    Spoiler Alert.

    Talaash is a bit slow.
    Then watch speed.

    Talaash is JTHJ of Aamir.

    Ghosts are also watching the movie without paying.

    Tantriks are having a filed day.

    Raja ko ghost se pyaar ho gaya.


  4. Spoilers Jokes.

    Every man will have an excuse now. I went after a ghost.

    Judges will be confused when wify files a case against a ghost as home breaker.

    Police officers are trying to grow mustaches.

    Many dresses are disappearing from showrooms as female ghosts are trying to emulate the reel ghost.


  5. That’s a marvelous connection you’ve made here GF to that cue from DCH and beyond.. indeed it’s remarkable that with so many trios gallivanting around in cars with their eyes on everything but the road, that there wasn’t an accident before this!

    Had a very different experience of the film than you did but this is a characteristically provocative read..


  6. Splendid piece GF. The parallels you have drawn between the 2 films reminded me of ur Mausam piece where u connected it with Vertigo


  7. As fascinating as it was, I think its just an unnecessary and over thought analysis of something (the movie) that may not have been intended like that (as mentioned in this article) to begin with.

    I Don’t intend to spoil anyone’s party here but connecting it to DCH’s 3 boy in a Mercedes having fun is just too much.

    ” This ghost refuses to be discarded or buried, demanding instead the dignity of an audience”

    Demanding the dignity of an audience? Really? Whatever happened to taking the story at face value. Kagti and Zoya may have penned it down without even subconsciously thinking about the above point. Like I said its a fascinating read and nothing more.

    “Armaan Kapoor could have been anything, but Kagti makes a very overt link to the world of Hindi movies”

    To me, it was the most sought after cliches. If not an actor, he may have been a singer. It just works that way. The Same way you will always find a romantic staff at an airport, who would allow the hero to pass through, when the he is trying to propose the heroine boarding the flight.


    • Party pooper.

      Kidding. That’s fair enough paapaas. I won’t get into the point that Kagti’s actual intentions don’t necessarily effect my reading to any great degree, but let’s leave that alone. Will say though that by “audience” I certainly wasn’t speaking literally. But I think it was pretty crystal clear that the ghost character here was attempting to be discovered, and in turn, ensuring that her life (or death, or both) is acknowledged, or witnessed, by someone.

      Don’t follow you on the last paragraph at all…


    • I disagree. First of all what the director/writer ‘consciously’ intended is a thorny issue. It’s hard to establish this for any work and even if one could I don’t believe it matters. Because a filmmaker (much like a writer or a painter or whatever) simply cannot account for everything in his or her own work. There are all kinds of ‘unconscious’ impulses as work as well. Much as in our ordinary lives we are not transparent to ourselves. we do very many things not only based on our ‘conscious’ thinking.

      But on this specific point it is a question of using a visual cue or trope and then examining its migration from film to film. This sort of exercise is performed a great deal in the other arts as well as in interpretation on the same. The same holds for philosophy. Just the other day I did something similar here with reference to a moment from LA COnfidential:


      and then a bit further down in the same exchange..


  8. Interestingly enough something related to this piece. Reema said in one interview that the story of this film was actually written during the making of DCH or may be right after it, not sure on when but around the same time.


  9. Seems another good piece gf — gud 2 get a break from work stress
    Will read properly after watching the film
    But can scan the comments
    “As fascinating as it was, I think its just an unnecessary and over thought analysis of something (the movie) that may not have been intended like that (as mentioned in this article) to begin with.

    I Don’t intend to spoil anyone’s party here but connecting it to DCH’s 3 boy in a Mercedes having fun is just too much.”
    Haven’t read gfs piece so plz don’t take this as a criticism
    But this seems a valid point
    The other day I was asking for sayymas wonderful point on incorporated into his piece and read that he found it irrelevant
    If 3 guys roaming around in a merc in goa can become the caption or a talaash piece –even the Newton one could
    Btw love this DCH moment 🙂


    • Alex, the difference is that I didn’t start out with the Newton reference and his interest in the occult and then develop Talaash from there. I just responded to something Sanjana said. It otherwise had nothing to do with the piece. Here GF precisely frames his own piece using that image or moment from DCH.

      The larger problem to such objections though is the assumption that anything can be put in any piece. Any reasonably though-out piece has a certain internal coherence to it. It isn’t simply a collection of great paragraphs. There has to be if you will a ‘discursive’ consistency to it. One might argue with it, disagree completely, that’s a different point. But it’s not as if ‘anything goes’!


  10. Anyhow
    Life’s just an excuse to enjoy
    Let’s go all the way
    One of the tracks I loved

    And now back to some kick-ass cut-throat work…


    • to heck with this intellectualisation–

      put your feet up folks like these three guys (& now me!!)
      and refuse to grow up !!!

      “Kaisa Ajab Yeh Safar Hai
      Socho To Har Ek Hi Bekhabar Hai
      Usko Jaana Kidhar Hai
      Jo Waqt Aaye Jaane Kya Dikhaye
      Dil Chahta Hai ”

      an awesome song
      Shankar Mahadevan
      Shankar ehsaan loy
      Aamir khan/ Saif/ Akshaye
      Perhaps the best product farhan ( and even excel) will ever come up with

      Love the beats there
      and the lyrics n the attitude
      eveerytime i listen to it

      A song to be celebrated 🙂


      • im actually beginning to admire aamirs performance in DCH more n more (with passage of time)
        there were enuf accolades to akshaye and even saifs ‘comedic’ timing
        but think DCH was a very un-aamir performance that went again the very ‘grain’ of the deliberated unspontaneous khan

        have a certain resonance with this aamir act

        ps–like the shot with the feet are shown in the side view mirror..


  11. Satyam,

    I haven’t objected to the piece. I have called it fascinating at max. Consider it one of those minority criticisms that crop up when such an exercise (as you mentioned) is performed. I am more of an audience that follows the story told by the maker and hence refuse to join in when comparisons like this are made. What GF wrote may well be the true picture ! Who knows! But from where I see Talaash, to me it seems like there was no way the makers consciously or subconsciously thought of stuff mentioned in this article. Anyways, any art form is always what you make of it. So be it !


  12. Bachchan1 to 10 Says:

    Nicely written GF, and a good read. Such a diverse thought on the film, very interesting. Wish you had few things to say about the performances of the rest of the cast and not just Kareena’s, Unless you mentioned it elsewhere. Thanks for this GF. Nice.


    • I liked Rani a lot in this film. I thought she reminded us of her powerful talent and that she’s gone completely underused these past several years where mannequins like Katrina took over. The problem I had was my lack of interest in the domestic drama where she played, really, the central role. As for Aamir he was fine but didn’t blow me away or anything. He’s been better elsewhere. I don’t mean to underestimate this performance, though, because it really is pitched at a “quieter” level than most cops in Hindi movies, if not all cops in Hindi movies. And in his best moments he really channels and communicates the tone of the movie in his performance.

      I couldn’t help but draw comparisons with Abhishek’s DMD work, where the actor had less screen-time (I think) but managed to etch a more memorable, emotionally interesting character. Of course Abhishek’s was a more masala-inflected character, had the better dialogue-baazi and what have you. So I wouldn’t compare those two performances without qualification. Just think that there weren’t as many shades to this character as could have been the case, but then we’d probably be talking about a different kind of film…


      • “I liked Rani a lot in this film. I thought she reminded us of her powerful talent and that she’s gone completely underused these past several years where mannequins like Katrina took over”

        I agree- I thought that hers was the most endearing and sympathetic of all the performances in this film. And I liked her look in the film as well- the earthy avatar suits her much better than the glamour doll get-up.

        I’m surprised that Satyam hardly mention her in his review- what did you think of Rani in Talaash, Satyam?


        • After all these years of seeing her on screen I never noticed she had those subtle and rather pretty freckles. Agree that it was refreshing to see her without pounds of makeup caked on her face.


          • Bachchan1 to 10 Says:

            Thanks for pointing out on the performances GF, I think the freckels are make up, If you noticed in the flash back she didnt have any. Katgi just trying to show that she stopped caring for herself after her sons death. Also, though her character of a housewife from her previous outing like Hey Ram and Yuva, Thought this was a complete contrast to both of those outings. Yuva and Hey Ram may have had similar shades (very minimal) But this was a complete U-Turn, didnt’ she was great, but didnt mind her either. I reallliked Kareena here, usually dont like her. Also thought nawazuddin and aamirs protege were really good as well.


        • had a couple of lines on her in the piece.. think I compared her favorably to Aamir in that context, admittedly I could have said more but I’ve always been a fan of hers. To be honest there wasn’t a performance in the film which seemed amazing to me, among the leads at any rate. Which is not to say that there aren’t good or at least effective performances for the most part here. But it is also the case that in the India media and by extension elsewhere a worthwhile film is often not separated from these other elements. If people like a film they convince themselves that the performances have been extraordinary and so forth. Rani definitely had some subtle moments in the film but ultimately didn’t have enough space to do a lot more (not that this was a problem with the film or anything). Might be forgetting something but Yuva is probably my favorite performance of hers.

          On Nawazuddin Siddiqui though I still haven’t seen GoW (have had both DVDs lying around for ages but with a serious effort I also have to be in the mood!) he’s clearly a fine talent based on what I’ve seen of him here and elsewhere. But the lionization of him in certain circles, the whole cult that has started to develop around him seems a bit excessive. Not because he might not deserve the praise. He probably does. But notice how there’s been for some years now a certain class coding in the media and on the blogosphere whereby a segment of the ‘liberal’ audience loves actors who don’t generally belong to let’s say the ‘multiplex classes’ and who mostly make a name doing significant parts in little films or sometimes important ones in major productions. These actors are presented as the purest manifestations of authentic ‘acting’ and are celebrated to no end. So it’s like ‘yeah we like some of the stars who are good actors and what not but this is the real stuff.. great intensity.. blah blah blah’. Then lists are drawn up for a given calendar year and the likes of Nawazuddin dominate the ranks!

          Now here’s what makes me suspicious about all of this – these actors often portray certain ethnic types or at the very least represent ‘underclass’ (even if the word isn’t PC anymore) varieties from across the country. The films they appear in are susceptible to what I would call (and have called) an anthropological notion of realism. The dialect, the gesturality, the language et al. In other words situations and films that for the same multiplex classes fulfill some imaginary notion of realism (here even if what is being conveyed is realistic in the documentary sense of the word it is still re-framed as the un-Bollywood ‘authentic’ which makes all the difference.. in other words the polemics in these works don’t very often emerge organically from the worlds represented and come across much more like realism designed to upset multiplex audiences.. that too upto a certain level.. because the attendant point here is that irrespective of how these works do they don’t upset their target audience very much). Consequently the authentic actor in a way resembles an archeological dig! You must plumb the depths of some Northern hinterland or some theater group in Bombay to locate them! They are then as much ‘witnesses’ for their biographical experience as they are actors. Or one because of the other.

          Again all of this does not mean that an actor like Nawazuddin Siddiqui or others like him are not impressive. They undoubtedly are. But the politics of their reception must be examined a bit more closely.


          • This is an important point. I can’t speak to GOW since I’ve only seen part 1 and to my mind Siddiqui wasn’t the standout there. But, and this connects to some of what you discuss, in Kahaani and now Talaash he plays two very different character types on opposite ends of the social spectrum you lay out here and that too in a similar kind of movie, targeted at more or less the same type of audence. I do see what you’re saying though. Actors always become the flavor of the month when they wow the usual suspects with a “gritty realism” and this has been the case from Manoj Bajpai, Vijay Raaz, Irrfan Khan, Abhimanyu Singh and now Nawazuddin…it’s another matter altogether that these are all wonderful actors.


          • and the best thing an actor can often do in these situations is get defined by a gangster part!

            Finally you have folks who turn up saying ‘if Irrfan Khan had done that Abhishek part I would have liked it a lot more and the film would also have been a blockbuster’.


          • If these criteria are applied, then Aamir had done it way back in 2001, where he played rustic Bhuvan and uber-rich in DCH with the same ease. Or take 1999, where he enacts ACP rathod in Sarfarosh and then follows it up with 1947 Earth, Mann was also in the same year. So to make it look like as if Aamir is non actor in front of Nawazuddin is fallacious and delusional. Aamir has portrayed all shades of characters and he is good at all the aspects of acting be it comedy, drama, tragedy, romance or bad guy, and he has enacted these characters with indelible impact. So to belittle his acting prowess has of late become pass time for those who can not digest the box office success of his films. Earlier he used to be written as the best actor of his generation with out any exception, but superstardom was not for him, but after 2006 when he has been delivering huge and record breakers year after year, he is now become Aamir the superstar, actor, no, he is effective or efficient kind of adjectives are thrown at him with all other co stars being the show stealer! It really amuses me why all of a sudden has he become non-actor??


      • Oh, and I quite liked Nawazuddin Siddiqui. He’s of course the flavor of the month but unlike most he really earns it…incidentally he’s in both Kahaani and Talaash and the characters couldn’t be more different…this really is a chameleon-like actor.

        I found his romantic mini-subplot with the aging prostitute rather moving. Moreso than any other couple in the movie. That actress was quite effective.


        • Bachchan1 to 10 Says:

          Yeah agreed here, Also if you remember the scene where Nawazuddin is proposing to her, if you can hear the background, the song from Hum Dil De Chuke Sanam (the prostitute in talaash is aish’s cousin here) is going on “Ankho ki gusthakiya maaf ho” which is during aish’s cousins wedding. And she is being proposed in Talaash, Found that interesting.


  13. This sums up my thoughts exactly on the movie “Despite this marvelous subversion and its rather thoughtful construction, the ideas guiding Talaash are often more impressive than the actual film.” Good Read. You didn’t say anything on the music/lyrics/BGM? Have you watched old Anil Kapur/Rani movie “calcutta mail”?


    • Muskaanein Jhooti Hai was by far the best song in terms of capturing the overall mood of the film and also in terms of the subtext and the title sequence’s accompanying imagery. Satyam wrote very nicely about this moment and I agree with him wholeheartedly. The rest of the songs were fine but from a storytelling standpoint they felt shoehorned to me. Could have been truncated, I think. Sampat’s background music was fine and mostly unobtrusive but I can’t say I remember a standout piece…

      Saw Calcutta Mail but don’t remember it all that well. Remember thinking it was just about ok.


      • kewl.
        More power to Reema and hopefully the hit of Talaash gives her more opportunities to freely express her creativity. Certainly most interesting times for hindi cinema


  14. Bachchan1 to 10 Says:

    Another interesting fact about the movie that I just thought of. Nawazuddin is being interrogated in the same fashion he was being interrogated by Aamir Khan in Sarfarosh. Found that interesting as well. How he was threatened about another inmate, etc. In Sarfarosh he gives in, here he doesnt indulge much, yet takes the info from the police and uses it for his benefit.


    • Yup, I thought about sarfarosh too, during that scene.


    • Wow, never realized that he was in Sarfarosh as well! Got to revisit Sarfarosh to check out Nawazuddin now. So where the heck was this guy hiding for all these years between Sarfarosh and Peepli Live?


      • It took an Aamir to recognise the talent as he not only was very impressed with the acting potential of him as he was auditioned for Peepli Live! and Aamir liked him and for Talaash part, he put forward the name of Nawazuddin as Taimur to Reema Kagti.


  15. The rise of the female director (&/of excel!)

    “More power to Reema and hopefully the hit of Talaash gives her more opportunities to freely express her creativity”
    Good point Dimple

    A) Female directors certainly do fill a certain ‘gap’ in mainstream Bollywood –certain facets are certainly brought out more perceptively

    B) Must say the kagti-zoya (real life as well as their film collaborations) are quite promising
    Along with those like kiran rao, EV director etc
    (Not counting farah khan types here!!)

    C)Also I don’t believe in this putting down of ZNMD-DCH type films which were v effective in their genres, spaces
    It is becoming quite convenient even ‘intelligent’ to pull done those films as some stupid exercises in angst of affluence etc..
    Don’t find it valid criticism beyond a point

    D) Ps: my other poser was how much has aamir ‘interfered’ with in talaash
    Apparently as per interviews, aamir did try to meddle with things, but apparently kagti ‘put her foot down’–the zoya connection helps

    E) It will be interesting to see kagtis next post aamir film…bcos of the gap!
    The ‘gap’ between DCH & Lakshya/don
    RDB & D6
    Sarfarosh & (don’t know the name of that flick by Mathhan)
    Lagaan & swades/ JHss


  16. “Again all of this does not mean that an actor like Nawazuddin Siddiqui or others like him are not impressive. They undoubtedly are. But the politics of their reception must be examined a bit more closely.”
    That’s a point I liked, Satyam
    And agree with
    Haven’t seen any movie of this suddenly-Mr-acting in India …
    And I’m sure he is actually good
    But I view these patterns with a certain circumspection b4 annointing such folks the best thing since sliced bread…
    It appears that a new school of acting is being suddenly demonstrated by this guy, hitherto unknown…(I doubt it)


  17. I’ve been reading a few of Reema Kagti’s interviews and she is a VERY interesting interviewee. Here are some of the more interesting excerpts:

    On the suspense element in Talaash:

    “We were doing this constant trade-off between plot and character. I wanted the suspense to be like a smokescreen for the internal journey of Inspector Shekhawat (Aamir Khan).”

    On her obsession with Bachchan:

    “I was obsessed with Mr Bachchan. I was not only crazy about his films, but I wanted to be him. He was so stylish and I was so much in love with him that I used to wear jackets like he wore, take out a middle parting and take pictures of myself looking like him. ”

    On Aamir signing Talaash:

    “It was three years post Honeymoon Travels and we had tried enough so we decided to shelve the film…by that time, I had lost all hope and had told myself that films were probably not meant for me and that I would become a poker player and had gone to Goa to play a poker tournament at a Casino when I got a call from Ritesh saying that Aamir wanted to hear the script in an hour. I met Aamir and the script did all the talking.”

    On all the Talaash spoilers:

    “From our side what we did do was actually spread a few rumours of our own. Then there were lots of other people with their versions of the twist. Finally it reached a point where audiences were not sure which rumour was correct. That was our only way of countering the problem in this day and age of social media.”


    • “From our side what we did do was actually spread a few rumours of our own. Then there were lots of other people with their versions of the twist. Finally it reached a point where audiences were not sure which rumour was correct. That was our only way of countering the problem in this day and age of social media.”

      Very clever of them really. to confuse everyone.


    • Thanx Amy –didn’t know kagti was a bachchan fan
      Havent seen her interview but she looks tomboyish
      Perhaps that’s what zoya liked in her …

      “muth’ is colloquial Hindi for masturbation. The correct Hindi word for this is ‘hastmaithun’”— thanx Amy for that useful information–& the clarification
      My Hindi is really improving here day by day
      Btw how did u come to know this term, Amy 😉


  18. Oh ok – it’s a tribute to Satyam& his site for this ‘holistic’ education..
    Amy– so we both have learnt bout something new today and hope this info comes in ‘handy’ 🙂

    Btw Amy –some folks I know checked out SLP–the females loved it and some r raving about Bradley cooper– what do u think of him
    A guardian link SLP


  19. Ha! nice bit about DCH and cars and Talaash.
    I was reminded more of Minority Report.


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