She is wonderful in that one scene where she confronts her husband. Rani Mukherji is poised in her portrayal of a woman who has come out of a personal tragedy yet made to believe she is locked in it. While he is a commanding cop at work, he is a vulnerable man at home. For loyal fans of the genre, the M Night Shyamalan film is a cult, thereby making the concluding shocker lead to a been-there-seen-that effect.Īamir Khan is resourcefully restrained and is persuasive in his multifaceted character. So even if the suspense might have not been predictable, there is a sense of betrayal. But a major letdown is that at its pinnacle, the film derives heavily from the Hollywood flick The Sixth Sense (1999).
While the pacing is intentionally slow, the writing by Zoya Akhtar and Reema Kagti is crisp and leaves behind enough join-the-dots clues to tease the perceptive viewer when the climactic disclosure happens. Somewhere around this time, you just don’t know where the film is heading towards. Also the long-drawn-out bonding track between Aamir and Kareena in the second half just adds to tedium. It just doesn’t go in sync with the genre. While that works occasionally, you certainly are in no mood to see Shekhawat suggesting rehabilitation to Rosy with banal lines like ‘yeh jagah tumhare liye nahi hai’. Kagti doesn’t restrict her film as a mechanical crime investigative flick but works towards adding a human touch to the drama. There are no dramatic entries, no stylized action and mercifully even item numbers are avoided (despite the looming red-light area backdrop). They only connect in the epilogue where one is employed for the resolution of other.ĭirector Reema Kagti designs Talaash as a subtle suspense drama.
While one expects the two tracks to contribute or correlate with each other to make it seem like one whole story, they run in parallel and largely stay independent of each other.
TALAASH MOVIE REVIEW PROFESSIONAL
The basic narrative essentially involves two fundamental tracks – Shekhawat’s professional investigation (murder of the filmstar) and his personal exploration (death of his son). Until when a final revelation is made, overpowering the intermediate conspiracy. So the sense of suspense (so significant for this genre) seems sporadically suspended. Furthermore as the mystery unveils, the identity of the perpetrators is, in a way, made apparent to the audience. Initially you don’t care much about the case because both, the victim and the usual suspects, do not revolve anywhere around the central cast. While the film gets to the point from the opening sequence, it takes its own sweet time to build up the suspense behind the case. Meanwhile he comes across Rosy (Kareena Kapoor), a sex worker who helps him make way into the case. In personal life, Shekhawat is unable to come to terms with the untimely death of his son, for whom he holds himself responsible, thereby leading to a strained relationship with his wife (Rani Mukherji). What seems like a random road accident takes the shape of a murder mystery with Inspector Shekhawat (Aamir Khan) investigating the case. The film starts with a car bumping off into the sea leading to the death of a film actor. But the cinematic gratification is largely subjective. Director Reema Kagti intentionally chooses this treatment tone to lend individuality to the murder mystery. While it certainly is a who-dun-it, it isn’t essentially an edge-of-the-seat experience. Talaash, as is common knowledge, is a suspense film but isn’t supported with the complementing thriller genre.
IDiva verdict: Talaash is a good one-time watch! What's Not: While the film gets to the point from the opening sequence, it takes its own sweet time to build up the suspense behind the case. What's Hot: Aamir Khan is resourcefully restrained and is persuasive in his multifaceted character.
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