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(And what a relief it is that she’s left out of the closing portions, with only her handiwork driving the final scene – again by the water.) There’s also the grace bestowed on a couple of female characters, prostitutes both – Madhur Bhandarkar, rubbing his hands with sadistic glee, would have kicked them right into a sewer. She comes off, initially, as creepy or plain crazy, but she gradually becomes the eccentric anchor for the film’s paranormal themes. I am thinking of the undercurrents in the scene where Suri and Roshni witness a bunch of lively kids from their colony dance to Jhalak dikhla jaa on stage, or the alternate what-if scenarios that torment Suri’s mind, or the time Roshni spends in unpacking things in her new home, or the character of Frenny (Shernaz Patel), a psychic who waltzes into Roshni’s life bearing a cheesecake. Watching Talaash is also a reminder of how a female writer-director (Kagti wrote the movie with Zoya Akhtar) can clue us into the nooks and crannies of a story or a character that we would not usually get from a male filmmaker. The quieter moments are equally powerful, like the lingering nighttime scene between Suri and the prostitute Rosie (Kareena Kapoor), filled as much with silence as dialogue. (And that goes back, again, to an accident that occurred in water.) Kagti sticks to an even tone most of the time, rarely turning up the volume except in the emotionally loaded songs, so the dramatic showpieces, when they occur, are a punch in the gut. Suri, instead of watching the movie, amuses himself by watching his wife laugh, but when they exit the theatre, they run into a living-breathing reminder of the source of their unhappiness. Like the one where Suri and his wife Roshni (Rani Mukerji, who really should stop slathering pancake on those freckles she looks lovely here) go to a mindless Ajay Devgn entertainer – a world far, far removed from that of Talaash – to forget their troubles at home, only to find that life doesn’t always work the way you want it to. Even if the resolution leaves you underwhelmed – and despite the artfully placed pointers to seediness, with ragpickers, porn DVDs displayed proudly in stores, derelicts and druggies, some may feel Talaash is just classily dressed up crap – the film is so beautifully made and so atmospheric that several scenes stick in mind. Kagti brings this all together with a sure touch that her first film, the fitfully entertaining Honeymoon Travels Pvt. Why did the car end up in the water? Was it suicide? If not, who was behind the accident? In short, we seem to be in for a nail-biting police procedural based on a “high-profile case.” But gradually, that search takes a backseat to others – a father’s search for peace, a wife’s search for a husband who’s vanished into a void of self-flagellation, and a forgotten victim’s search for closure. The talaash of the title, at first, suggests the search for answers. Out on the streets, though, he’s a coward who meets a most unheroic death.
#Talaash movie review driver
Perhaps it’s too soon to declare that the biggest Bollywood stars are playing their age, shying away from overt heroics, but consider this: the driver of the doomed vehicle is himself a big Bollywood star, whose heroism is reserved for the shooting spot, where he’s seen guns blazing, in front of a green screen.
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(His dourness is doubled thanks to a thick moustache that curls downwards, resembling the emoticon for a frown.) As he drives up to the scene of an accident – a car swerved off the road and flew into the Arabian Sea, killing its driver – an awestruck subordinate tells him, “ Bahut suna hai aapke baarein mein.” This hint of far-reaching fame makes us expect another valorous saga like Sarfarosh – the film, instead, is an existential mood piece.
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Reema Kagti’s Talaash similarly dismantles the halo around its hero Aamir Khan, who plays the dour Inspector Suri Shekhawat. At the beginning of Jab Tak Hai Jaan, we watched Shah Rukh Khan make his appearance while defusing a bomb as the people around him spoke admiringly of his heroism – but the film, it turned out, wasn’t interested in heroics at all.