She said, "Zoya and I thought of the story and co-wrote it. However, unable to find any films that interested her, Kagti began working on a new script with long-time friend Zoya Akhtar in early 2010. (2007), Kagti was approached by several production houses to direct their next film. The project, which features Aamir Khan, Kareena Kapoor and Rani Mukerji in pivotal roles, is jointly produced by Excel Entertainment and Aamir Khan Productions, and is scheduled to release on June 1, 2012.[2įollowing the release of her first film, Honeymoon Travels Pvt. But one is ready to forgive the director this blip after such a moveable feast.Talaash (Hindi: तलाश) is a forthcoming Hindi psychological thriller written and directed byReema Kagti. Everything that was to be done and said was over at the climax and the film would have logically ended there.
The last ten minutes could have been wrapped up faster. I wish I could gush forever but a reviewer’s job is to point out the flaws as well. You want him to rise above the flotsam and escape away. Mention also should be made of Nawazuddin who plays Tehmur, the lame errand boy working in the redlight district. One wants to reach out and hug her and tell her things would come out alright. Rani too excels as the grief-stricken wife and mother. But two seconds into the frame and you forget Aamir Khan the chocolatey lover boy and remember only Surjan Singh. One couldn’t have imagined him playing a mustachioed cop with conviction. Aamir has the chameleon like ability to make each film his own. He isn’t cynical or bitter about the system and believes in making a difference despite it all. He towers as the inspector who blames himself for his child’s death and yet not has his personal demons eat into his job. She’s supposed to be extrovert and muffat while he’s all restrain, all pain. That maybe because her character is more fleshed out than his. The real mystery is why Kareena Kapoor couldn’t be this good in all her films? Where was she hiding this talent? She’s as good as Aamir in their joint scenes and dare I say it, actually overshadows him in some. Also, the slums, the red light area, the police station with the plaster peeling off walls, all carry the air of living, breathing environments and not newly erected sets. The underwater sequences reportedly shot in London look real as well. Editor Anand Subaya’s scissor work is seamless. Mohanan has mostly made use of natural light and that keeps its texture grim and real. The mellow pace is justified because it gels with the story.
One may complain about the slow pace but life evolves at its own pace. You wish for a closure and feel good when they finally get it. You wish that they break their shell of silence and communicate. You wish for Surjan’s and his wife’s reconcilement. Reema has taken care to make a human drama rather than just a hi-jinks whodunit.
#Talaash movie cast crack#
He meets a prostitute Rosie (Kareena Kapoor) who acts as his informer and helps him crack the case.
He can’t reconcile with his child’s death and as a result is drifting apart from his wife Roshni (Rani Mukerji). Superstar Armaan Kapoor (Vivan Bhatena) meets with an accident in the wee hours of night and newly transferred inspector Surjan Singh Shekhawat (Aamir Khan) is made in charge of the high profile case. Rationalists may baulk at the supernatural elements but at the end of the day it’s a film and a little poetic leeway is justified. There are enough red herrings to keep a convention of Agatha Christie fans happy. The film hooks you from first shot onwards and refuses to let go. Kudos to Reema and Zoya Akhtar, who have written the screenplay and the story. You sort of get involved in their stories without meaning to. It’s like watching a story unfolding in your neighbourhood. It’s rarer still where actors leave their stardom behind and behave like normal people, have normal conversations, have normal reactions, normal emotions. It’s rare to see a film where everything falls into place. Cast: Aamir Khan, Rani Mukerji, Kareena Kapoor and Nawazuddin Siddiqui
0 kommentar(er)
