|Talaash falls in that category of films which start a trend.
Talaash in many ways is a trendsetter. Kudos to Aamir Khan for
putting his heart, mind and money into where his convictions lie.
Talaash is a taut narrative. The story might not be very
innovative or path breaking but the execution is something that has
not been seen before in the Industry. Right from the camerawork that
introduces you to Mumbai, the music that accompanies Aamir Khan’s
state of mind so perfectly and the subtle acting by each of the
actors. Never before has the industry seen something come so close to
perfection. Watching the movie, one gets the feeling that this is the
exact way Reema Kagti and Aamir Khan had envisioned the movie. It is a
simple story executed to perfection.
The movie runs in two parallel storylines that converge beautifully
in the end. Aamir Khan plays Senior Inspector Surjan Singh Shekhawat,
who is also a father dealing with the death of his young son. One
can’t help but be impressed by the way Aamir Khan has played both the
roles impeccably. When he is conducting his investigation, he is a
tough-as-nails cop, staring down bad guys to submission and
subordinates to order. When he is with his wife Roshni (Rani Mukerji),
he turns into a brooding father who blames himself for the death of
his young son. A husband, who knows that he is not giving his wife her
due, but can’t help it.
The expressions and the dialogue delivery are par excellence. Rani
Mukerji as his wife doles out some predictable expressions of a
grieving mother. Nothing much to say about her performance except in
one instance when Aamir Khan catches her with Frenny (Shernaz Patel);
who is a supernatural healer of sorts claiming to be talking to dead
souls. She shouts back at him saying that’s her effort of gaining
mental peace, as is his roaming the streets at night.
Kareena Kapoor will remember this as one of the best performances
of her career. She is so nuanced in her dialogue delivery and
expression that it seems ethereal. And credit to Reema Kagti for
drawing out this performance.
Though Kareena is a grieving dead soul who is burning with
retribution, she never has a frown or an evil expression on her face
ever in the movie. She owns each of the shots she is in and at times
overshadows Aamir Khan in the same frame. Her expressions reflect a
layered mind; with an agenda at the back and a facade in the front.
Kareena Kapoor, take a bow. Just one word for the actress – respect.
Nawazuddin Siddiqui is cementing his credentials with each
performance. He manages to impress as the lame Taimur, a small-time
sidekick in love with a brothel girl beyond her prime and who is
willing to take risks to earn enough money to win her love. Nawaz
delivers a good performance but one gets the impression that the
length of his role has suffered at the hands of whoever sat at the
editing table. In the movie, his is another parallel story and he
keeps coming and going at various points in the story without
coherence. His appearance and disappearance is staccato and jarring.
A commentary on this movie will remain incomplete without a word
about the music. The insightful and very pertinent lyrics by Javed
Akhtar are well supported by Ram Sampath’s music. Each song is very
relevant to the plot and Ram Sampath has really captured the mood of
the sequence in each song. Be it Muskaanein Jhooti hai which
transports you to an era with clubs with live performances or Jee
Le Zara which feels like exhorting Aamir Khan to come out of his
personal sorrow and come to terms with reality.
Talaash is a taut thriller that keeps you occupied through
the movie (though you might get some breather in the second half when
Reema Takes time to delve into Surjan Shekhawat’s state of mind).
Watch it for its performance, narration and music.