There are two kinds of movies that the connoisseurs relish. The ones that awe you with a brilliant story and the others that delight you with great story telling. Talaash (2012), directed by Reema Kagti and starring Aamir Khan, Rani Mukherji, Kareena Kapoor and Nawazuddin Siddiqui in the lead is really an average story told convincingly well.
Talaash not only revives the genre of movies comprising of Bluffmaster, Superstar, Karthik calling Karthik and Dhobi Ghat but also succeeds in raising the bar a notch higher.
Plot Analysis: In an age of Bollywood where the norm is to outsource the script, lyrics and dialogue writing to the perverted retards, Talaash is a serious deviation. The credits for writing include critically acclaimed biggies such as Farhan Akhtar, Zoya Akhtar and Anurag Kashyap. This wise investment has thankfully paid off and compensates for the obvious loopholes the story.
The plot isn’t anything new and frankly speaking, is something that can neatly fit into 2 episodes of a TV serial. To be even more candid, every TV serial that touches upon supernatural has told us this story at least a dozen times each.
However, the real revelation of Talaash is the beauty with which the plot unravels; the plot grows wide while as the characters gain depth simultaneously.
Shekhawat’s wife and the psychic neighbor have comparatively little screen time but lend valuable perspective.
The tricky and challenging aspect of the plot and its characterization was undoubtedly that of the beautiful ghost – Simran/Rosy. This one aspect had to be perfect for the rest of the movie to be convincing.
The movie starts with a certain seriousness, sustains it all along and concludes equally well. No clown characters retrofitted in the name of comedy, no item numbers or even hero-heroine escapades to Switzerland for a dance. That for a Bollywood movie intended at mass-audience is quite commendable.
Even though the context of the plot is deep rooted into prostitution, extortion and murder, the movie doesn’t really get into either skin-show or violence. The subject is handled maturely and characters don’t even get preachy on any of these topics.
Kareena Kapoor has done a good job with the key dialogues that needed to be delivered while attracting least attention or focus. Thinking of which, her seductive eyes taking away the while
Unlike, Om Shanti Om (that sits pretty high on my personal list of hate-movies) the climax is far more subtle and convincing. The plot sets enough groundwork (the psychic, dead son and a believing wife) before summoning the supernatural to solve the puzzle.
A spooky thought: In a certain scene, the psychic lady asserts that spirits at unrest choose to reveal themselves to people who are sad, depressed and in pain. The spirits confuse such people to be one of their own kind.
That is spooky interesting enough to mull over.
4 Replies to “Talaash (2012) – Movie Analysis”
Enjoyed reading your post. My ONLY grouse with the movie was the ending. I don't particularly think the last 10 mins were required. Some stories need to end leaving the viewer to imagine what happens next or imagine the characters reaction behaviour and conclude it their own way. 🙂
Well, it's bollywood audience we are talking about.
The director had to consider the sales aspect as well right 🙂
I loved the movie and more so your post! Great analysis, just what one wants to read after watching such an off-beat and profound movie,( in terms of the other south inspired movies) Even though there are a few cliches, the film is brilliantly edited , and I love how we are as clueless as Shekhawat and we figure out the mystery as and when he does…But the ending could have been left abrupt, open to interpretation, would have kept me awake all night trying to imagine a suitable and satisfying ending!!
Thanks for the post though!!
Thanks for dropping by and your kind words.