With the story racing through the dark underbelly of Mumbai, Inspector Shekhawat (Aamir Khan) tries connecting the dots to solve a murder case, simultaneously dealing with his own internal conflicts. Reema Kagti’s Talaash presents a mysterious case and its unpredictable esoteric complications trying to be solved by the Mumbai Police. Indeed, it has been a long time since we had a top grade murder mystery in Bollywood, and no wonder Talaash was one the most awaited films of 2012. The restricted but precise promotion of this film did the job by considerably boosting the suspense.
The death of a film star in a car accident which seems to be an “A final” case to everybody in the Police department invites the suspicion of Shekhawat who while investigating the case faces only increasing complications and dubiously mysterious people getting involved. He has his own imbroglio; the loss of his 8 year old son, leaving his wife Roshni (Rani Mukherjee) shattered and depressed and himself ridden with the self-imposed guilt over his son’s ill-fated death.
This mysterious case becomes even more tedious to solve when a huge network of interconnected crimes are exposed, the number of people involved in this case are increasing and Shekhawat is left to handle his wife who now starts believing that she can converse with her dead son. As the veil uncovers one truth, it goes to cover another. Helped by an abstruse incomprehensible Rosy (Kareena Kapoor), the Inspector goes on to solve this perplexing case leaving no stone unturned in search of the murderer. But what he eventually realizes is that the answer actually does lie within.
Excellent performances invariably by all the key characters. Aamir, needless to say delivers an impressive portrayal. Kareena’s key enigmatic performance has to be appreciated. Rani Mukherjee is commendable and deservingly praiseworthy. However, meritorious of all was the excellent Nawazuddin Siddiqui (playing a lame greed stricken menial worker). Shernaz Patel is yet again noticeable after her much liked role in Rockstar.
Mumbai’s darkness was realistically depicted; but an exception in perfection does come up. When a film star is murdered, the police tend to investigate only the distorted section of the city while general logic urges you to suspect someone from his professional front. Dialogues by Farhan Akhtar (of ZNMD fame) are just about average. Ram Sampath’s music was fairly good. “Jiya Lage Na” works perfectly as a key song in the film although “Hona Hai Kya” gives you an unpleasing déjà vu of “Tere Siva” from Delhi Belly. The background score too is appreciable, even though it yet again resembles that of Delhi Belly.
With a film like Kahaani raising the bar of Bollywood thrillers, while watching Talaash, one would attempt to guess the unexpected and would leave the theatre disappointed and dissatisfied at first. But within minutes, as you realize the subtle nuances throughout the film supporting the end, the climax grows on you. An experienced versatile cast, a tight flawless script, captivating cinematography and a truly laudable climax: Talaash is a crisp and intelligently shot thriller thanks to the masterminds Reema Kagti and Zoya Akhtar. Surely worth a watch.