Aamir Khan's Talaash Movie Review By Partha Pratim Das
Read Partha's blog at http://hochpoch-ppd.blogspot.in/
Rosy is red, Surjan is blue,
Roshni is glum, and Talaash is a queue.
The red, blue and glum queue in 'Talaash', adding various shades out of turn to the mystery surrounding the death of superstar Armaan Kapoor (Vivan Bhatena). Inspector Surjan Singh Shekhawat (Aamir Khan), who befriends insomnia after the sad death of his son, digs deeper into the case to find puzzles more enigmatic. With the support of call girl Rosy (Kareena Kapoor), Surjan decodes few riddles, but the zigzag patterns descend nowhere.
Through Mohanan's photographic images, the nights of Mumbai appear stark naked. The beauty of Rosy disappears into her flirtatious eyelashes when she tries to lure night crawlers on stripped roads. The haunting background music of Ram Sampath adds an air of deception to the circumstances surrounding Surjan.
Surjan swings between conscientious rationality and self-defeating irrationality despite the efforts of his wife Roshni (Rani Mukerji), who bravely manages to assemble her grief and translate them to positives. Little beyond a genuine feeling of glum is her contribution to the conundrum. Rosy keeps oozing charm on Surjan while the audience gets seduced by the jazz and the night. The jazz number Muskaanein Jhooti Hai, at the very onset, compels the audience to confront every character with suspicion.
Search the screenplay of 'Talaash' and you will find ample evidences of unnecessary familiarity. The writing dexterity of Reema Kagti and Zoya Akhtar lies in making the familiar look to be unfamiliar. There is intelligent use of several half-finished cliches in the pre-interval part of the movie, apart from few really intelligent ones -- left similarly unattended. A watcher is left with no time to guess the other half: that's the combined effect of a gritty cinematography, brilliant acting and an evocative background composition. The post-interval part slowly builds on the curiosity factor and that's when the movie forgets to build the identities of the curiosity. There it falters.
The dialogues penned by Farhan Akhtar work well for the chemistry between Surjan and Rosy, primarily because of the information embedded in them. The emotional interactions between Surjan and Rosy are, in few sequences, soul-deprived compared to the intense connect between Surjan and Roshni throughout the movie. Aamir Khan's acting is hard to detail in terms of 'soul' and 'intensity'. In fight with multiple relationships, Khan's representation of Surjan is above adjectives. The limp Tehmur (Nawazuddin Siddiqui) adds an extra leg to the movie. Shernaz Patel as the Parsi neighbour delivers endearing quirk with confidence.
'Talaash' takes time to find. It is up to you to decide if the find is worth it.