Monthly Archives: November 2012
Talaash Takes Bumper Opening
In Mumbai, Rajesh Thadani of Multimedia Combines says, “Talaash opened at 70-80 per cent in Mumbai and across India. Its reports are also good and almost all the night shows have been booked in advance. The weekend too is promising for the film as all three actors, Aamir Khan, Rani Mukerji and Kareena Kapoor, have a huge fan following.”
In Delhi-UP, Sanjay Ghai of Mukta Arts adds, “There were heavy rains in our region last night and the weather was very cold. People usually don’t venture out to watch movies in the morning under these conditions but Talaash opened at 80-90 per cent in UP-Delhi. The numbers are expected to go up after the noon shows. And footfalls will further increase at the weekend.”
In East Punjab, Surendra Saluja of Lakshya Movies says, “The film opened at 40-50 per cent here and even the reports are not very good. Advance booking has not yet opened for the evening shows.”
In West Bengal, Debashish Dey of Aum Moviez says Talaash opened really strong in multiplexes, at 65-70 per cent. “I call this a ‘good opening’ because there was no buzz or any real promotion around the film. The numbers will rise in the first week due to word-of-mouth publicity. Weekend shows are half-full already due to advance booking.”
Aamir Khan Confident About ´Talaash´, Despite Non-Holiday
After his last three hits, ’3 Idiots’, ‘Ghajini’ and ‘Taare Zameen Par’, released on Christmas, ‘Talaash’ will get a work-day release (November 30) across 2400 screens in India.
” ‘Talaash’ is the most …
Talaash could not open well at single screens and multiplexes in mass dominated circuits and there was not much improvement in the shows after. The multiplexes are in urban cities are good but eventually there is a limit to how …
Friday 30th November 2012 16.00 IST
Talaash could not open well at single screens and multiplexes in mass dominated circuits and there was not much improvement in the shows after. The multiplexes are in urban cities are good but eventually there is a limit to how far these cinema’s can take a film. The single screen opening is around 40%.
The first day will come out with a decent total but not the sort of number expected from a wide release Aamir Khan film after three years. The average business in many circuits will tell on the first day business despite big contribution’s by metro multiplexes.
The business in the big circuits (Mumbai and Delhi/UP) is not optimum as if Mumbai city has good numbers, Gujarat has low figures. If Delhi city is good, UP is recording low numbers.
When Aamir Khan was last seen on screen as a lead actor, in 3 Idiots, history was created. The film broke box office records but most importantly, gave us an experience that we can cherish and remember forever fondly. Aamir Khan became synonymous with entertaining, meaningful, sensible cinema and his forthcoming films became eagerly awaited. Surprisingly, Aamir vanished from Bollywood scenario and didn’t even sign a film for a long time, instead devoting time to his television show Satyamev Jayate. And finally, when Aamir chose Talaash, the fans and industry heaved a sigh of relief. The ‘thinking Khan’ will be back soon after all! Again, Aamir made us wait, postponing the film to almost 5 months and finally, here comes November 30. And here comes Talaash, easily one of the most talked-about and anticipated films in the last 2 years! Promos never promised any masala entertainment or humour and in that regard, Talaash doesn’t mislead or cheat audiences. The film keeps one hooked although it moves at its own pace. More about it later!
The story of the movie: Inspector Surjan Singh Shekhawat (Aamir Khan) is assigned the case of the accident/murder of movie star Armaan Kapoor (Vivaan Bhatena). The case is bewildering and Suraj is not able to find a single clue. On the other hand, he’s battling problems in his personal life as well. His son Karan has passed away in an accident and Surjan fails to come to terms with this loss. Moreover, he is also finding it difficult to emotionally connect with his wife Roshni (Rani Mukerji) post-tragedy. At this point, Surjan meets Rosie (Kareena Kapoor), an attractive sex worker, operating in the same area where Armaan loses life. Surjan gets drawn towards Rosie to find answers to Armaan’s mysterious death and also to get over his personal grief.
It’ll be wrong to reveal much about Talaash since as we all know, that it’s a suspense drama and unveiling anything can kill the joy of the viewers. However, one should be aware of the fact that it’s an engrossing film but not fast-paced. It’s around 135 minutes long and takes its own time to reach the culmination. But from start to finish, the film has several moments that are deftly executed, performed and written and which will find appreciation. Characters are brilliantly sketched and one instantly gets drawn into the troubled world of Surjan and Roshni. Songs are minimal but smartly incorporated into the film. The first half is superb and wonderfully builds up the mystery and leave the viewers asking, ‘what next?’. The second half commences well and Aamir-Kareena’s scenes are nicely executed. The film does drag somewhere in the middle of the second hour. But it gets back on track during the pre-climax. In fact, the last 25 minutes is the best part of the enterprise. But at the same time, here lies a catch – many viewers will be able to guess the suspense before it’s unveiled! This is not something that should not happen in a film promoted as a whodunit. But still one doesn’t mind! Talaash, after all, is more than a suspense film. It’s an emotional film at its core and deals with issues like forced prostitution and more importantly broken homes, strained marital relations, coming to terms with loss of a loved one etc and in that context, the film is an excellent and satisfying experience. But somewhere, thanks to these bloody expectations, a lot is left to be desired!
Aamir Khan delivers fantastic performance as always, direction is tight and background score is super, Kareena Kapoor at her best and so is Rani, Nawazuddin and Rajkumar are good in supporting roles
3rd rate copied script from Hollywood classics, bad screenplay and even worse lighting, songs does not add anything to the film
Talaash opens with a haunting musical track, Muskanein Jhoothi Hain, filmed in Bombay’s red light district. Arresting visuals of Mumbai by night, lend themselves beautifully to the mysterious air that pervades the night. As you take it all in with the title credits rolling on to the screen, wondering what Aamir Khan’s Talaash in the film will be, the languid pace is broken by a speeding car, that loses control and heads straight into the sea after hitting the promenade in the dead of the night.
Enter Inspector Surjan S Shekhawat, played by Aamir Khan at the scene of the accident the following morning. It comes to light that a film star, Armaan Kapoor (Vivaan Bhatena) was driving the car and drowned in the process as he was trapped in the car, underwater. The case is an extremely high profile one, given that a celebrity is involved and the media interest is high. The scene where Surjan admonishes his team for giving out information to the press is very entertaining and hilarious — one of the best scenes, out of many in the film.
A scene from the film Talaash. Courtesy: Facebook
Surjan is an earnest man working in the police force, married to Roshni (Rani Mukerji) for the past 12 years. They are a broken couple due to a personal tragedy that Surjan blames himself for and punishes himself by pulling all-nighters at work, even when he is not required to do so. Of course he does not realize it, but he needs the psychiatrist he sends Roshni to, more than she does.
In his night-rounds of the city, he meets Rosy (Kareena Kapoor), a hooker, and a smug one at that, who he turns to time and again to help him in the case.
Writing and making thrillers is never easy. It has to be gripping, should engage the viewers and has to steer away from predictability. And Reema Kagti’s ‘Talaash’ scores in all these aspects.
Written by Reema and Zoya Akhtar, ‘Talaash’ grips you from the very first shot and keeps you hooked through the two and half hours of its runtime. A tale of loss, betrayal and revenge, the film explores the many versions of truth and questions the obvious, leaving the viewer thinking of things unexplained.
Superstar Armaan Kapoor’s car nose dives into the sea one late night in Mumbai. While initial reports suggests it to be an accident, Inspector Surjan Singh Shekhwat (Aamir Khan), who is investigating the case, finds a murky case of blackmailing which may have a connection with the accident.
While investigating the case, he comes in contact with Tehnur (NawazuddinSiddiqui) a pimp’s right hand man and a prostitute called Rosy (KareenaKapoor) who may have the missing link to the jigsaw puzzle. Meanwhile, Shekhawat, himself is fighting demons of his past which has a direct impact on his marital life. Suffering from insomnia, Shekhawat roams around the empty streets of the city while his wife Roshni(Rani Mukerji) engulfs herself in grief and solitude back home.
The worst thing to happen while watching a murder mystery is someone telling you the twist in the tale even before the movie began. The second-worst thing is when you figure out the twist yourself, halfway through the film.
Call it a result of watching too many whodunits as a kid, but the twist in Reema Kagti’s “Talaash” was apparent an hour before it ended. After that it was just a matter of waiting to see how it plays out. No surprises there either. Kagti makes a stylised film, a murder mystery that also has an emotional undercurrent and borrows strongly from well-known Hollywood films of the genre (I won’t say which ones for fear of revealing the plot).
Aamir Khan plays troubled police inspector Surjan Singh Shekhawat, who moves to Mumbai after his son’s death in a freak boating accident. Wracked by guilt, he roams the streets of the city that never sleeps at night, leaving his wife Roshni (Rani Mukerji) to deal with the tragedy on her own.
Shekhawat is assigned the case of Armaan Kapoor, an actor who dies after driving his car into the Arabian Sea.
Make no mistake, Talaash is a Vikram Bhatt film.
Which isn’t to say Bhatt actually made it (though he or Mohit Suri or Pooja Bhatt may well have at some point, who dare keep count) but that it has a story built on the exact same pulpy foundations. Just yank out the invariably catchy Pritam soundtrack, replace Emraan Hashmi or Randeep Hooda with Aamir Khan and throw in major heroines where Vishesh Films would have cast unfamiliar models. (The only key character in Talaash who isn’t a top actor is, actually, the one who plays a top actor.)
To give credit where due, director Reema Kagti and her crew show significant flair in terms of creating atmosphere. Cinematographer Mohanan has always dealt strikingly well with shadows and darkness, and the film emerges as a fine looking mood-piece. It’s a somber, well-assembled film in contrast to the quick and flashy schlock that would have been doled out by the aforementioned merchants of middlebrow masala, and while the film’s craft — and the acting chops shared by its considerable cast — can’t at all be denied, it must also be said that perhaps the trashier approach may have worked better for this material. Or, at the very least, made for more fun.
Allow me to make my case, then, without once discussing the film’s plot. No spoilers here, folks.
There are a few essentials for a police procedural film, all rather basic: either the crime should be a stupefying one, one which raises many a “how in the world” question and flummoxes audience and investigator; or the suspects should be interesting and complex, those whose motivations become clearer only when the film gets less murky; or the investigator himself should be a compelling protagonist, someone who makes you either care about himself or the case, ideally rooting for his success. And if all else fails, then it should be thrilling enough to hide the lack of the above.
Before analyzing the movie, I just wish to state one thing. You haven’t watched a suspense thriller like TALAASH on the Hindi screen. Ever. Also, all those sms-es prior to the release pertaining to the ‘killer’ are humbug, bogus and …
The generally clean imaged young south superstar “Vijay” who is now basking on the success of his recent money-spinner “Thuppaki” is garnering a not-so-good publicity online due to his recent movie posters lift-offs. Not one but his last back-to-back 3 movies (one shelved) had straight lift-offs from foreign posters. In this era when internet is widely available this kind of plagiarism certainly leaves a bad taste.
Thuppaki poster which sees Vijay carrying Kajal Agarwal in police uniform, with Kajal wearing his cap, is exact same as Richard Gere’s movie “An Officer and a Gentlemen”. The film has a poster which also has Richard Gere wearing navy uniform, carrying the heroine Debra Winger in his arms, who is seen wearing his hat.
While Shahrukh Khan, the star of “Jab Tak Hai Jaan” has moved on to fresh opportunities, the fans and the media are still upbeat about the numbers and the business the movie did. Hence, it’s a moment for SRK fans to rejoice as Boxoffice India reports on Nov. 28, 2012 that “Jab Tak Hai Jaan” is a huge blockbuster overseas. At home, the movie continues to hold its steady revenue.
According to Box office India, “Jab Tak Hai Jaan” becomes the fourth highest grossing film ever in 13 days by grossing $11 million approximately.
With that, it surpasses films like “Kabhi Alvida Na Kehna”, “Om Shanti Om” and much to the relief of ardent fans, Salman’s “Ek Tha Tiger.” The films that exceed in revenues are Aamir Khan’s “Three Idiots” and Shahrukh’s “My Name Is Khan” and “Don 2.”
The approximate available 13-day figures from major markets are as follows:
TALAASH, another feather in Nawazuddin’s cap?
Though it was generally believed that this Friday’s big release, TALAASH – THE ANSWER LIES WITHIN, consists of just three main stars, Aamir Khan, Rani Mukherji and Kareena Kapoor, but once the promos were …
London Beckons Bollywood/Television With Attaractive Tax-Relief Benefits!
With an attractive new Creative Sector Tax Relief (CSTR) coming into effect 2013 in Britain, London has thrown open its doors for Bollywood and the Indian television industry to plan their future ventures …
Aamir Khan’s ‘Talaash’ leaves us spell-bound He, and director Reema Kagti, gives us one of the most riveting movies to call our own.
‘Talaash’ is an incredibly rousing tale of deceit, betrayal and revenge,set against the backdrop of an unforgiving city. It’s a story that forces us to look beyond the obvious, and explore the unknown. The narrative is slow,and intended, brilliantly capturing the essence of what truly lies beneath. We surrender to director Reema Kagti’s,and writer-director Zoya Akhtar’s, exquisite story, allowing them to influence our sensibilities ,unquestioningly.
As the curtains go up and credits roll, we are introduced to a mesmeric
Mumbai that awakens to a whole new world at night through
Mohanan’s mesmeric frames and Ram Sampat’s foot-tapping beats.Just minutes on, a famous actor is found speeding to his death, as three unsuspecting witnesses watch the events unravel in front of their eyes. A police investigation is summoned, and earnest cop Surjan Singh Sekhawat is appointed to handle it.He examines the witnesses whose frank observations don’t quite explain the tragic end. It leads to an excruciatingly, daunting journey that forces him to push his boundaries, and accept the incomprehensible.
Reema’s incredible genius lies in her ability to involve the audience
without unveiling too much until the very end. And, it’s those few moments of revelation that’s the most riveting. Aamir turns Surjan into a credible cop, minus the Bollywood clichés
that surround every uniformed hero these days. He gives Surjan
immense depth and authority, controlling our emotions and moulding
our beliefs with finesse. From taking down street rogues without any remorse, to stepping out
to save the life of a streetwalker, to being sensitive to his wife’s
inability to move on, to trusting another woman of questionable
reputation, there are numerous layers to Surjan’s personality. While you’d question some of his decisions, you’d never doubt his
integrity. Despite investing his every wakeful hour in solving the murder
mystery, it’s the burden of losing his young son that constantly
harasses him. An unfortunate event, which he believes he had caused
due to his negligence. Although he checks in his wife for medical assistance, Surjan refuses to
accept he is suffering himself and spends every night reliving the
horrors of that fateful day. His wife, played by a make-up-less, light-eyed Rani Mukerji, appears
more eager to nurse her aching heart and find ways to deal with her
grief. She’s exceptional as the wounded woman who is unable to solve her
failing marriage, and prefers to ignore the bad and focus on the
positive. Despite being projected as the weaker parent, she shows
great strength and resilience. Kareena Kapoor pouts and charms as the third crucial character Rosy, as
she controls Surjan’s psyche immeasurably. Although she has dolled up
to step into the murky red-light zone in her earlier movie ‘Chameli’,this act is far more convincing and daunting. Among the supporting cast, Nawazuddin Siddiqui is exemplary as the imping Tehnur, who hopes to benefit from the murky dealings to win his freedom, and Shernaz Patel plays the intrusive, quirky neighbour with aplomb. Reema and Zoya have worked out the most enthralling suspense drama without succumbing to any Bollywood cliché. Even Ram Sampath’s striking musical compositions are played to accentuate the narrative and not puncture it.
by Soumita Sengupta (November 29, 2012) He was known for his stunts before he moved to the comedy genre. But 12 years later, with Khiladi 786, Akshay Kumar is back where he began. Kumar talks about being Khiladi and why …