This camera work makes spectator feel as if he is secretly following the events. Reema Kagti “Talaash” We see characters plotting their dark deeds from far away. The medium woman at Roshni and Surjan’s home. Camera follows the characters from hidden places, faraway angles, to increase suspense.
It’s a sin city like Los Angeles in “Chinatown”. It lures you with its flashy lights and fancy façade while its inside is corrupt and ugly. The darkest character also became my favorite, Mumbai itself. The camera seems to be hidden sometimes, secretly following the dark deeds of characters. The unconventional camera movements and angles, the motif of neo-noir genre, also add a lot to the viewing experience (Source: Wikipedia). Rapidly changing scenes are orchestrated in a way that doesn’t confuse the spectator (that can easily happen developing a few different subplots at the same time), but actually adds to the tension and suspense. Mohanan) and editing (by Anand Subaya) deserve separate acknowledgment too. Apart from the acting, the cinematography (by K. His performance as Tehmur brought that subplot to such emotional heights that it became my favorite part of the story. It was my first film seeing Nawazuddin Siddiqui, and I was very impressed. The main actors do the superb job expected from such stars. The director masterfully blends all three stories with quick and smooth transitions from scene to scene, and the brilliant soundtrack (by Ram Sampath) glues the visual and the emotional elements together. Kareena Kapoor beautifully plays seductive Rosie. Overseeing and overhearing small details of the whole murder case, he schemes his own little plan hoping to get out of his miserable reality. A third subplot also develops in which Tehmur (Nawazuddin Siddiqui), an underdog henchman and limp son of a prostitute, is the central character. “Is anyone really happy? Are you happy?” he asks. Meanwhile, Surjan tries to find his own answers in Rosie’s company. Roshni seeks answers in the spiritual world through a medium who stumbles into their lives.
Surjan is drowning in guilt, not sleeping, and not letting anyone get through to him. The family is broken, and Roshni feels that she lost her husband along with her son. He and his wife, Roshni (Rani Mukerji), recently lost their eight year old son Karan in a boating accident. We also learn what torments this no-nonsense, hard, seemingly emotionless cop. Only one prostitute, Rosie (Kareena Kapoor), helps Surjan in his quest. The investigation leads to the Red Light district, a place where people are unwilling to cooperate with the law enforcement. Inspector Surjan Singh Sekhawat (Aamir Khan) investigates the case, unveiling deepening mysterious circumstances. Police retrieve the car and identify the victim as Bollywood super star, Armaan Kapoor. The movie is fast paced from the beginning, and just after the opening song we see a car crash and plunge into the sea. Inspired by such films as Joon-ho Bong’s “Memories of Murder” and Roman Polanski’s classic, “Chinatown” (Source: Reuters), “Talaash” takes us to the dark alleys of Mumbai where “a smile doesn’t reach the eye.” Everybody there has dark secrets and sorrows, struggling to find small joys and hope in their daily lives. Writer(s): Farhan Akhtar, Anurag Kashyap, Zoya Akhtar, Reema Kagtiĭirector Reema Kagti takes on a genre rarely seen in Bollywood movies – a mystery thriller with neo-noir motifs.
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