Talaash - Notepad
Talaash is more an emotional drama than a thriller. This mixing of genre works but only towards the climax. Through the first half though I found myself pushing myself to like the film. It stays at 'just a good film' when it could've been so much more.
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This page has additional observations, other than the ones noted in the main review.
Warning: this section has some details that could distort your experience while watching the movie. I strongly recommend reading this only after you have seen the movie or if you have decided not to see it.
A mysterious accident is being investigated by an officer who is going through a lot in his personal life. Both problems find solution through the appearance of one character.
- The many shots typical of Mumbai real life barely ever captured on reel.
- Raj Kumar Yadav and Aamir Khan speaking Marathi. Found it amusing.
- Inclusion of issues like AIDS, sex-workers' plight, and even seemingly smaller things like entire family wearing helmets when riding a bike and use of seatbelts in cars.
- Interestingly, there were no corrupt police officers in the entire film.
- I found it slightly amusing that Aamir Khan's character asks his team to keep the details of the case under covers, just like real life Aamir Khan likes to keep his projects.
- The scene in which the emotional disconnect between Suri (Aamir Khan) and his wife Roshni (Rani Mukerji) is depicted by their souls (reflections(?)) wanting to hug.
- The chemistry between Aamir Khan and Raj Kumar Yadav. Worked really well.
- The ease with which Kareena Kapoor corners Aamir Khan. Yeah, one of the places where the actors who played the characters came to attention more than the characters even though the actors were performing well.
- The depiction of the many alternate possibilities that a mind goes through.
- The way Aamir Khan breathes shortly whenever memories of his son are triggered.
- The two long sequences between Suri and Rosy (Kareena Kapoor) post-interval. Their lingering long gazes worked big time even though these scenes slowed down the pace of the film by many notches.
- A tribute (maybe accidental or I read too much) to Shaan's 'yaa ali' where a cripple's board is used by a character who is very similar to Shaan's Abdul.
- The mild thrill brought about by the chase sequence the above scene features in.
- It is mentioned in passing, but I really liked the way both Shashi (through his girlfriend/wife) and Temur think they've done a lot for the other but the other hasn't taken care of them.
- WARNING This one could be thought of as a spoiler compared to the other points above. Two questions - Why does Temur (Nawazuddin Siddiqui) go to Rosy for help? An injured Rosy is brought to Temur's house by Shashi - what is the relevance of this scene in the context of what is going on in the film at that point? And what happens after that in terms of the plot?
What did not
- The use of one of Sholay's tunes (mostly in first half). That one belongs more in a western than a tale in an urban setting.
- The teasing. For example, the one which tries to create an angle between Mrs. Kapoor and her husband's friend Kejriwal
- Shernaz Patel's character. It's too caricaturish, out of place for this film.
- Where was Temur (Nawazuddin Siddiqui) sitting when he exchanges the SIM cards? Jail? Wouldn't he want to run away from the Jail as soon as he gets a chance? The ambiguity bothered me throughout the scene.
- Dialogue given to a 8-year old are too adult-like in language.