Not Dabangg Enough

The Robin Hood Pandey returns with a new positioning as Kung-fu Pandey; and somewhere in that transition, the essence of Chulbul Pandey is smothered. Arbaaz Khan’s sequel to Abhinav Kashyap’s much-appreciated Dabangg is nothing but an ill-constructed amalgamation of the protagonist in Ready and the villain from Singham. By all means, the film is an outright entertainer; however, built on a carcass of the first film, Dabangg 2 fails to recreate the magic of its predecessor. The main defect in the sequel, without a doubt, is the direction. A lack of vision in terms of a standalone project, it relies heavily on the laurels of the first film and hence, falls on its face to some extent. A character driven story, Dabangg 2 has very little to offer apart from the charismatic cop Chulbul Pandey portrayed with excellence by the people’s favourite superstar, Salman Khan.

Following a similar narrative pattern, Dabangg 2 could easily have been an experience of revisiting Dabangg; like in the case of the Hangover franchise, which didn’t meddle with the plot in its sequel. However, in tampering with the narrative structure, the writers have added some ridiculous bits that are too stereotypical and ridiculous even by the standards of a regular mainstream entertainer. The bad guy harming the family of the good guy who then flares up to take revenge is something we unfortunately grew up on and don’t wish to see anymore.With action sequences that are literally going South (if you know what I mean) with every single film, and the line between the ridiculous and the real growing thinner and thinner, Dabangg was a franchise from which one expected some craftsmanship; but that seems to have left it along with Abhinav Kashyap.

Apart from Salman Khan, whose belt buckle sways automatically this time around, no other character leaves a lasting mark in one’s memory. Prakash Raj delivers yet another Jaikant Shinkre-sque performance and quite frankly, a great actor is being bound in the shackles of being typecast as the big eyed baddy with every single role. Deepak Dobriyal, who plays the bad guy’s brother, is under-utilised. A fine actor whose talent has been quite adequately realised only by a few makers, Deepak’s character, like most others, is simply used as a marker to establish the might of Chulbul Pandey. Sonakshi Sinha plays Chulbul’s wife Rajjo, a role that demands an able bodied woman to just exist, while Salman romances with it.

As everybody had correctly expected, Dabangg 2 is ‘Of the Salman, By the Salman, For the Salman’. With Wanted, he created a realm about himself that has been accepted and appreciated by everyone. It has grown with Dabangg, Bodyguard, Ready and most recently, Ek Tha Tiger. What these films have done is that they have made the viewer tolerant to a kind of absurdity, so much so that his actions are now acceptable. There is realism, there is magic realism, there is surrealism and now, it is safe to say, Salman has created a realm of his own, a Salmanic Realism, if you may.

He drives the wagon of the film and the franchise single-handedly and with his typical dance moves, giggles and punchlines; Salman keeps you entertained throughout and is a job well done. And while you put up a Salman poster in your room and stick it 'Fevicol se', the director needs to apply some 'Zandu Balm' for denting what could have been a good franchise.

Rating - 2.5 out of 5

Published in DNA After Hrs (Pune) on December 22, 2012

5 Films - Most Memorable Cops in Hindi Cinema

Inspector Vijay Khanna -- Zanjeer (1973)

 

 

Yeh police station hai, tumhare baap ka ghar nahi. Isi liye Seedhi tarah khade raho, says the angry-young-man Amitabh, at his inception, to Sher Khan played by Pran. Prakash Mehra's Zanjeer was where Amitabh's journey as the hot-blooded youngster begins. It is the story of an honest police officer, who gets tangled with a gang leader Seth Dharam Dayal Teja (Ajit) and is wrongly accused and jailed. When released, Vijay has nothing but revenge on his mind and won't rest until he has it. The flamboyant cop, who delivers his own brand of justice, became a hit with the fans and also became a youth icon.

ACP Ajay Rathod -- Sarfarosh (1999)

 

 

Mai apne mulq ko apna ghar samajhta hoon, says ACP Rathod, played by Aamir Khan in John Mathew Matthan's Sarfarosh. Although this underlines the film's theme, there is more to ACP Rathod than meets the eye. The character of a hardened taskmaster of a cop, an obedient son, a loyal friend and a shy poet-lover, Sarfarosh shows Aamir Khan as a multi-dimensional hero. His powerful performance and dialogue delivery, which later became an unconscious style, are loved by his fans even today. A hardcore mainstream hindi film with songs, ACP Rathod was the added dimension which set the film apart from its competition.

Sub-inspector Anant Velankar -- Ardh Satya (1983)

Ek palde mein napunsakta, ek palde mein paurush; aur theek taraazu ke kaante par, ardh satya; are the final lines of the theme poem by Dilip Chitre and the lines define all there is to the film. This Govind Nihalani film, whose script is written by the immortal Vijay Tendulkar, focused on a universal existential issue of whether you continue with what you have or take a risk to change things for the better. The stunning performance by Om Puri, wherein he portrays a character whose predicament can be resolved only from within, is captured with two endings, one written in the script by Tendulkar and one which Nihalani deemed fit.

SP Amit Kumar --Gangaajal (2003)

 

 

Samaaj ko police waisi hi milti hai jaisa ki samaaj khud hota hai, are the words of Ajay Devgn, who plays SP Amit Kumar in Prakash Jha's national award-winning film Gangaajal. The film is a dark look at the socio-political system that reigns in Bihar and shows how this charismatic cop leads a team of dysfunctional and corrupt policemen, who are used to malpractices and wrongdoings, to fight crime and re-establish an ideal status quo. Following questionable methods, the team brings down a mob leader in the town so as to restore order and civility in a society plagued by extortion, corruption, bullying and lawlessness.

Inspector Sadhu Agashe--Ab Tak Chhappan (2004)

 

 

Tu khush bass iss liye hai, kyon ki tu zinda hai aur woh mar gaya; Nana Patekar's disenchanted remarks and precise dialogues that have no pretentions make Ab Tak Chhappan a difficult dish to digest for all those with romantic ideas about the police force. This Shimit Amin film explores the dark side of the police force, where Sadhu Agashe, makes a name for himself by killing criminals instead of locking them up for trial. Centered around him, the film explores the Mumbai police, Agashe's method and his alleged connections with the underworld, without taking a judgmental stance anywhere.

Published in DNA After Hrs (Pune) on December 21, 2012

The Journey Has Just Begun

Peter Jackson returns with yet another epic from the repertoire of JRR Tolkien. The Hobbit, takes you back into the realm of the middle earth which houses men, wizards, dwarfs, elves, goblins, orcs and many other creatures of the unknown and the mystical. A much-awaited retreat for the Lord Of The Rings fanatics, The Hobbit: An Unexpected Journey; is naught but a start of yet another trilogy. A great foundation for the films ahead, The Hobbit sheds some light on the ‘where have we come from?’ bit that keeps you wondering throughout the LOTR series.

“My dear Frodo, you asked me once if I had told you everything there was to know about my adventures. Well, I can honestly say I’ve told you the truth... I may not have told you all of it,” is where the story of Bilbo Baggins begins, inside the same hole where years later, Gandalf would hand the ring to Frodo. Bilbo, thanks to the wizard Gandalf the Grey, finds himself on a quest to reclaim the lost Dwarf Kingdom of Erebor from the fearsome dragon Smaug. He, along with Gandalf and thirteen dwarves that are led by the legendary warrior, Thorin Oakenshield, set out in the search of the lonely mountain. Fighting giant trolls, goblins, orcs, shapeshifters and what not, the group crosses the forest. But before the Lonely Mountain, they must escape the Goblin tunnels, where Bilbo meets Gollum and is introduced to the ring.

Lord of the Rings: Return of the King, released in 2003, and nine years later, we finally have the technology that can do justice to Tolkien’s work. Stunning visuals and smooth graphics, which blend the visual layers and make the image synchronous, make it easier for the audience to enter the realm of fantasies. For most part of the 169-minute film, one feels like a 10-year-old child, simply bowled over by the fantastic and unbelievable story that is unfolding before them. However, the awe is limited to the visual faculties. Unlike Lord Of The Rings, this film fails to connect emotionally. It is perhaps the lack of human characters in the story, but that can’t be it. The strong emotions you feel for Frodo don’t emerge for Bilbo, perhaps because his ordeal doesn’t come across as a great one. This could also be because the visuals appear to overcompensate for the lack of that basic connect. At the same time, the action, which is visually stimulating, appears like an opening act before the real show begins.

In terms of the performances, Ian McKellan’s much-loved character of Gandalf emerges as a central character this time around, instead of just being an impact character, like he was in the previous series. Richard Armitage, in his role as Thorin, the Dwarf King, commands respect which is due and is stunning throughout the film. Martin Freeman, perhaps the best choice for Bilbo Baggins in retrospective, does a fine job with his clever sense of humour and timing. However, those of you who are familiar with his role as Dr John Watson in BBC’s Sherlock will agree that, the actor carries the bearing of that character into this one in terms of his dialogue delivery, body language, gestures and posture.

An epic in the making, Peter Jackson is set to provide movie buffs with yet another memorable franchise and a modern classic. The wait for the next film of the series — The Desolation of Smaug, set to release this time next year, has only increased after being enthralled by the magic of An Unexpected Journey. For fans and neutral moviegoers alike, it is safe to say, this film is truly the beginning of something great legends are made of.

Rating: 4 out of 5

Published in DNA After Hrs (Pune) on December 15, 2012

5 Films - Must Watch Dilip Kumar Films

Devdas (1955)

 

Based on the classical novel by Sarat Chandra Chattopadhyay, Devdas is perhaps India's most celebrated romantic tragedy. Among the four popular versions in Hindi cinema, which include the likes of KL Saigal, Shah Rukh Khan and more recently, Abhay Deol in the role of the miserable drunk lovesick character; Dilip Kumar's edition, directed by Bimal Roy, is still considered the best. One of the major contributors in building his image as the tragedy king, Devdas became a cult film and a cultural symbol for all love-struck hopeless romantics.

Mughal-e-Azam (1960)

 

 

This K Asif film was an epic of large proportions on every single scale. The sets, the screenplay, the dialogues and lyrics, the music and of course, the cast. With Prithviraj Kapoor as Akbar and the fairy-like Madhubala as the court-dancer Anarkali; the film is a major landmark in the history of Indian cinema. For Dilip Kumar, who was reluctant to work in a period film at first, the role turned out to be iconic and by this time, he had gained a superstar status with a daylight of a distance between him and the others.

 

Ram Aur Shyam (1967)

 

 

It has been 45 years since this film hit the screens and we are still making Ramesh-Suresh jokes. The legacy of the double role was popularised by the two Dilip Kumars on screen. Ram and Shyam are twins, who are nothing but alter-egos of the same personality -- a plot that has thereafter been used in a multitude of blockbuster hits like Sita Aur Gita (Hema Malini), Chaalbaaz (Sridevi) and Judwaa ( Salman Khan). The film was marketed as Dilip Kumar's first dual-role and marked the beginning of the doppelganger effect in Hindi films.

 

Saudagar (1991)

 

Dilip Kumar has been inactive since acting in Qila in 1998. However, for fans and followers, who have seen him through the large part of his illustrious career, it is impossible to attribute it as the retirement film of this impeccable actor. Saudagar, on the other hand, was the film he did before Qila; and the Subhash Ghai film had him play Thakur Veer Singh, acting along side Rajkumar for the first time since Paigham. Influenced by the plot of Shakespeare's Romeo and Juliet, Saudagar sees Dilip Kumar in the role of Capulet.

Naya Daur (1957)

 

A typical melodrama of the 1950s where socialism was at the forefront of every second film, Naya Daur is a tale of man versus machine. Set in post-independence India, where rapid industrialisation had rendered many professions rudimentary, Naya Daur sees Dilip Kumar as Shankar trying to compete with the advancements around him. Shot originally in black and white, the film was colorised and re-released in 2007. With OP Nayyar's fabulous music to go with the rural setting, this BR Chopra film made Dilip Kumar a people's hero in the truest sense.

Published in DNA After Hrs (Pune) on December 14, 2012

Poking Politics

Having a sense of humor is one thing, but being satirical requires a higher level of existence. Good satire emerges from within the society but is produced only those who can rise above the situation and see it externally for what it is. A branch of humor that has caused many a revolution in history, satire, be it social or political can never be ignored. In India, political satire as an expression has been present in literature for a long time; however, the new media that emerged in the twentieth century have failed to explore that genre. 

The primary reason behind this lack of satire content, on radio or television or in films, is the normative shackles that bind our media which was largely controlled by the Government. Add to that a lack of self awareness and a will to express the social angst in this format. When we specifically look at cinema, recognized political or social satire films are few and far between.

Our illustrious history in the field which completes 100 years next year has seen fewer than ten films of that genre. Although there have been films that have made a comment on society, the main ingredient of satire – humor, has been missing. The National Film Archives of India has classified merely four films in this genre, three of which were made in the past decade. Starting with Jaane Bhi Do Yaaro (1983), the list has Peepli Live, Tere Bin Laden and Phas Gaye Re Obama. In addition to that, the only few names that come to one’s mind are Phir Bhi Dil Hai Hindustani, Oh Darling! Yeh Hai India, The President is Coming and a few others. The number is too small for the time the medium has been with us.

Of all the films mentioned above, Jaane Bhi Do Yaaro gives the most representative sample of what a satirical film should be. Kundan Shah’s maiden project, which is still considered by many as his best work, when it was made, was way ahead of its time in terms of the content that was handled. It is story of two friends who, in an attempt to become successful, get tangled in a web of deceit, corruption and murder and its treatment is what makes it special. Perhaps made with the best ensemble cast ever, that included the likes of Nasseruddin Shah, Ravi Vaswani, Om Puri, Pankaj Kapoor, Satish Shah, Bhakti Barve and others; all of whom are renowned artistes today.

On its face, the film is a comedy. From start to finish, the events and scenarios that take place showcase the journey of the protagonists that are trapped deeper and deeper into the abyss of corruption, with an insane humor element. Certain scenes that have become legendary over time are the finale on the stage where all the characters act out a scene from the Mahabharat and also the sequence where Commissioner D’Mello’s dead body is set rolling on the streets of the city in his coffin. 

What makes us see the film as satire is the last scene. Where, failing to convince the police of their findings, Sudhir and Vinod (Ravi Vaswani and Naseeruddin Shah) are put behind bars with Hum honge kamyaab playing in the background. It suddenly renders a perspective through which one begins to look at the film differently in retrospective. Another major element which makes Jaane Bhi Do Yaaro different is that it was funded by the NFDC. A government body funding a film on political satire is pretty noteworthy. NFDC also funded Dibakar Banerji’s latest film Shanghai which was also a work of deep socio-political satire laced with dark humor.

When re-released in theatres on November 2, Jaane Bhi Do Yaaro was nearly three decades old but was welcome by the critics and audience alike with equal enthusiasm. Not because it is a classic, which it no doubt is, but because the content and the humor are relevant even today. That is the magic of good satire – it ages like wine, only getting better. Except for a few logistical details which change over a period of time, the film is fresh and appears contemporary and valid even in today’s setting. Our country is at a vital stage in terms of political and social upheavals and filmmakers and social commentators should make hay. Corruption, inflation, terrorism – problems are in abundance. Satire is just a tool to have a good laugh while suffering. Hum honge kamyaab ek din.

Hitting the crossbar

They say there are no good films and bad films, but there are only honest films and dishonest films. Playing For Keeps, however, is an honest film alright; but unfortunately, is disappointing on a lot of levels. And the reason behind that is the fact that the film comes across as unsure of what it really wants to say.

Gabriele Muccino's film is the story of a former soccer star who finds himself having a hard time at the sunset of his career. He lives in Virginia so that he can be close to his son and ex-wife. In an attempt to get his life together, he takes up the job to coach his nine-year-old son's soccer team. But his attempts to grow up and become a stable adult are hindered regularly by desperate soccer-moms who are attracted to his vivacious personality and sexy Scottish accent.

The fragmented nature of the story, where George Dryer (Gerard Butler) finds himself oscillating between being a responsible father and a Casanova is handled very loosely. The scene construction and the way the story progresses, simply makes it difficult for you to feel for the central characters. Except for a few scenes between George and his son Louis (Noah Lomax), the film is just a few loose pages from the diary of a retired soccer player living in America.

The primary attraction of the film is the casting, which lines up Gerard Butler, Jessica Biel, Uma Thurman, Dennis Quaid, Catherine Zeta-Jones and plenty others. However, apart from the male and female leads, the other actors merely play cameos that add very little value to the narrative in particular. Jessica Biel, who plays George's wife Stacy, is disappointing when it comes to emoting. Nine-year-old Noah, on the other hand, shows he has some substance and Gerard Butler himself is charming, as usual, on screen.

Whether you look at it as a coming-of-age story, a slice-of-life film or a complex drama, it ends up falling short on all accounts. The primary reason is the loosely knit narrative which is a clear lack of judgement on the part of the director and writers on what to show and what to leave out. The story has a lot of substance that simply doesn't show in the film, which is why you feel disappointed in it.

Playing For Keeps is a movie that has a heart, but it is not in the right place. Watch it for Gerard Butler and forget that you watched it once you have. There are a lot of other options at the cinemas right now; if you skip this, you will have missed nothing significant.

Rating - 1.5 out of 5

Published in DNA After Hrs (Pune) on December 8, 2012

Hospitality Assured

After having been subjected to the horror of a series that almost destroyed the eeriness of vampires, the Count seems to have decided to revive the classical image of the blood-sucking monster, who lives in an off-limits, secluded medieval castle. Genndy Tartakovsky's Hotel Transylvania is a refreshing animated film and a pleasant experience to undergo.

The Dracula, voiced by Adam Sandler, is a monster tormented by the tortures his family was put through by the humans. He therefore decides to build a secret recluse for all the monsters, where they could come to get away from the dangers of the outside world. His primary concern is his daughter, Mavis (Selena Gomez's voice), who is quite fascinated by the world outside and wants to know what a human is like. On the occasion of her 118th birthday (yes, 118th; she's Dracula's daughter, remember?), Dracula throws a party for all the monsters from across the world. The Egyptian mummy, Frankenstein's monster and his wife, a family of werewolves and even Big Foot are present. However, Dracula's party is spoiled when Jonathan, a human, accidently crashes at the hotel. Dracula fixes him up to look like Frankenstein's cousin and Johnny too is quite okay, as long as he thinks it is a costume party. In the meantime, Johnny and Mavis fall in love with each other, giving rise to the question - can humans and monsters live together in harmony?

At 91 minutes, the film has a lot of content in the first half and none of it is unnecessary. The little, quirky bits about the myths related to every monster are explored in the most natural manner and the film definitely is quite humourous. The screenplay, which is the most important element of an animation film, is very tight and executed with precision. However, the humour and magic left aside, Hotel Transylvania is a simple story of a protective father who can go to any limits to prevent his daughter from harm. It is a mundane love story of two individuals who are completely different from each other.

This brings us to the next highlight of the film - its audience. Although a good bedtime story of a monster is for kids, this film may not be one you can take for granted as an entertainer for kids. Of course, there are sequences, one after another, which are utterly hilarious and don't require you to be smart to understand. And on that count, the film is entertaining throughout its duration. However, there are little cultural connotations and references that one can catch only if they are exposed to them prior to watching the film. Moments like Dracula saying, "Welcome to the Hotel Transylvania" or scenes featuring zombies of Beethoven and Mozart, require a certain cultural consciousness which comes only with age.

However, there is little disappointment that one feels after watching the film, except perhaps how quickly it gets over. Adam Sandler's Dracula is absolutely adorable and has, in the larger scheme of things, restored the respect we had for the dark monster who wears a cape. Hotel Transylvania is cozy, comfortable and hospitable. One of those sweet films that you cherish viewing and a memory from which you can check out any time you want, but you can never leave.

Rating - 3 out of 5

Published in DNA After Hrs (Pune) on December 8, 2012

5 Films - Must Watch Boxing Films

Million Dollar Baby (2004)

One of Clint Eastwood’s directorial masterpieces, this film transcends the boundaries of being a sports film and uses it as a metaphor for the greater predicaments in life. Hillary Swank plays Maggie Fitzgerald, who in her quest to learn boxing, joins Frankie Dunn’s gym. Frankie (Eastwood) is a hardened trainer who has little to show for his work behind the ring. The first thing he teaches all his pupils is to ‘always protect yourself’. The film is a legendary journey of these two characters narrated by Frankie’s old pal and trainee Eddie Dupris (Morgan Freeman).

Unforgivable Blackness: The Rise and Fall of Jack Johnson (2004)

The only non-fiction film on the list, Ken Burns’ Unforgivable Blackness, is one of the best chronicles of a boxer’s life. The tagline says all that you need to know about the story: They couldn’t knock him out, so they tried to tear him down. The biographical focuses on both the rise of an athlete in becoming the first African American heavyweight champion and then the tragic downfall that ruined his career. Narrated by Keith David, the film features Samuel L Jackson as the voice of Jack Johnson. Addressing the issues of racism and heavy lobbying, the film is a remark on the social inequality during the Jim Crow era which Johnson lived in defiant opposition with.

Rocky IV (1985)

One of the greatest underdog stories ever told, the entire franchise (six films) was an inspirational tale of how a David beats a Goliath. Rocky IV sees people’s champion Rocky Balboa challenge Drago (Dolph Lundgren) after Apollo Creed is killed in a match against the giant Soviet boxer. Written and directed by Sylvester Stallone, Rocky was the iconic idea that made Stallone an international hero. A plot that appealed to everybody, Rocky has action sequences that thrill and a protagonist that you connect with emotionally. Rocky IV possibly has the most feared villain of the franchise and the fulfilment of overcoming the giant is felt like a personal victory.

Fighter (2010)

This Oscar-nominated film by David O Russell tells an intense story of Massachusetts-born, junior welterweight title winner ‘Irish’ Micky Ward. A determined boxer, Micky’s career is faithfully supported by his loyal half-brother Dicky Eklund. Dicky is a boxer-turned-trainer whose career was overshadowed due to drugs and crime. Mark Wahlberg plays Micky, who portrays the struggle of several defeats followed by victories in two-weight categories with utmost integrity and authenticity and is supported by an equally intense performance by Oscar-winning actor Christian Bale, who delivers yet another iconic performance. 

Ali (2001)

A biopic on Mohammad Ali, one of the biggest sporting legends of all times, starring Will Smith, accurately captures the essence of the story of a fighter. Directed by Michael Mann, the film begins before the champion’s debut match and ends with the famous ‘rumble in the jungle’ match against George Foreman where Ali regained the heavyweight title which he was stripped off. Smith, just like Ali in his hay days, makes his presence felt on the screen with a performance that ‘floats like a butterfly, stings like a bee.

Published in DNA After Hrs (Pune) on December 7, 2012

5 Films - That are Ridley Scott's Best (so far)

Gladiator (2000)

The Academy award-winning film can be looked at not only as an effort, but an accolade that Ridley Scott has always deserved. A tale of heroic tragedy, of love, loss, betrayal, corruption and politics; Gladiator is a modern classic. Russell Crowe as Maximus in a critically acclaimed performance has left a mark on our memories forever. The theme’s universality made the film a great success and redefined Scott as a filmmaker too.

Alien (1979)

The film is a new beginning in the genre of extraterrestrial science fiction. The alien’s image in this movie defined how the generation to follow picturised the creatures from outer space. Made at a time when the department of graphics was not as advanced, Ridley Scott’s vision as a director and expertise as a production designer set the standards high for the makers, who carried the franchise forward. And the legacy was followed with great detail by great names like James Cameron, David Fincher and Jean-Pierre Jeunet.

American Gangster (2007)

Based on a true story, this is perhaps the closest Ridley Scott has come to portraying what we generally perceive as the real world. The story of Frank Lucas (Denzel Washington), who comes to power by smuggling quality heroine into New York and is sought after by an honest cop Richie Roberts (Russell Crowe) with the help of a special narcotics task force. The noir treatment seen in the film has been seldom experienced since Godfather. Scott’s characters are real, multidimensional and honest projections of the story.

Thelma and Louise (1991)

Geena Davis and Susan Sarandon star as Thelma and Louise, in a film about an incredible journey of two working class women. Fed up of their mundane lives, the two take off on a journey in a ’66 Thunderbird. The journey begins on a good note, the pair end up at a bar where Louise murders a man, who tries to rape Thelma. Then on, the journey takes them to the Grand Canyon being chased by the police where they decide their fate. What Scott has done tremendously well here is executing a great screenplay written by Callie Khouri.

Blade Runner (1982)

This film was made after the tremendous success of Alien and was, yet again, a film that was way ahead of its time. The story of a futuristic blade runner cop Rick Deckard (Harrison Ford) whose job is to eliminate the replicants (clones who serve in colonies outside the Earth in the future) was a cyber-punk vision of the future which dominated the thinking of the time. Ridley’s hold over the outlandish has made him a great filmmaker. The ability he has to draw the audience into a premise and a setting that they have never-before-seen is hardly matched by anyone in the industry.

Published in DNA After Hrs (Pune) on November 30, 2012

A Game of Illusions

Before you enter the cinema hall to watch this film, the expectations developed by the promotional material, trailers and the overall look of the film make you believe it is a certain kind of a suspense-thriller, which Reema Kagti’s Talaash most certainly is, but it doesn’t stop at that. The film invites you into its premise and then builds a maze around you, which you try to come out of for the remainder of it.

The story and the plot can be easily divided into two distinct halves, in terms of its structure. The first half, like a pledge in a magic trick, simply draws your attention. By the time the film reaches the interval, the second act of the trick is unveiled – the turn, if you may. Thus far, the film simply introduces loose ends which come across as desperate attempts for you to start suspecting a number of characters. However, like every magic trick has a third act, the prestige; Talaash too picks up all those loose ends and weaves them into a curtain with all the details in place. The end, depending on your tastes and sensibilities, may either take you by surprise or leave you with a dampened sense of disappointment.

The film begins with a car accident which involves a famous actor. The investigating officer, Surjan Shekhawat (Aamir Khan), who is discouraged by many in pursuing this case, which they claim is a clear accident, decides to investigate further. Surjan, or Suri, as his wife (Rani Mukerji) calls him, is sleep deprived owing to the accidental death of his young son. However, battling the personal demons along with the increasing tediousness of the case at hand, Suri enters a different world of extortion, crime and prostitution and just keeps going deeper. He is helped by a prostitute named Rosy (Kareena Kapoor) and also by a limp (Nawazuddin Siddiqui) who has hidden interests.

As mentioned before, the first half is just an elaborate setup for the remainder of the film and what keeps your interest alive are the immaculate performances by all the main characters. Rani Mukerji as Roshni reminds us of her caliber after the disaster her previous film was. Kareena Kapoor is at her best throughout the film and has given a stellar performance which is on par with Jab We Met and Chameli. As far as Aamir Khan is concerned, it is fair to say that if you only watched Sarfarosh and Talaash, it wouldn’t be hard to convince you that he is actually a cop. Nawazuddin Siddiqui, who is quite frankly, the man making hay in 2012, has proven his mettle yet again this year, after the success of Kahaani and Gangs Of Wasseypur. In an interrogation scene in the film, between Aamir and Nawaz, which inevitably reminds you of its counterpart in Sarfarosh, it is evident how far Nawazuddin has come since.

Reema Kagti, who returns to direction after her first film, Honeymoon Travels, which was a slice-of-life drama, establishes her hold on the narrative throughout the movie. The screenplay is decent and the story has something to it that keeps you hooked. For a second film, it has to be called a bold attempt, making a suspense-thriller with more twists than the feeble-brained can handle. Ram Sampath’s music lends a soft touch of Noir, which enhances the drama.

One of the most highly-awaited films of the year, Talaash is one of those films which divide the audience. There will be some who will love it and some who will be extremely disheartened by the conclusion. Saying anything more would be considered as a spoiler and let no one who has seen this film tell you what happens. Watch it and let the story unfold before you. Your talaash for a decent suspense film ends here.

Rating - 3 out of 5

Published in DNA After Hrs (Pune) on December 1, 2012