It is first of the frightening but effectively picturised mishaps to follow reinforcing my belief over the course of Talaash that Kagti's got what it takes to make a robust action film. No sooner have I surrendered to the stark serenity of Mohanan's mesmerising and charismatic late night drive, I am jolted by a spectacularly-shot car accident at Worli Sea-Face, a sleek sedan is furiously tossed and swallowed in no time by the magnificent waters, also witnessed by a bunch of equally shocked bystanders, which includes a clairvoyant terrier. Like the latter's previous productions Jaane Tu Ya Jaane Naa and Dhobi Ghat, Talaash's opening credits, too, celebrate the exquisite portraits only South Mumbai can provide but with a tinge of doubt and jeopardy through cinematographer K U Mohanan's brilliant, bokeh-filled glimpses of familiar moods and murky landmarks that redefine the city's appeal in the night.Īnd it is underscored by Suman Shridhar's slinky rendition of Raat mein hi jaagte hain yeh gunaahon ke ghar (More power to Ram Sampath for a terrific soundtrack and background score). And that's why I doubly applaud her ability to keep me untiringly hooked for nearly 150 minutes.Ĭo-Written by Kagti and filmmaker Zoya Akhtar with additional dialogues provided by Anurag Kashyap, Talaash is a joint collaboration between Farhan Akhtar-Ritesh Sidhwani and its leading man Aamir Khan. When one has watched enough films dealing with such elements, the did-not-see-it-coming astonishment is substituted with an appreciation (or otherwise) for approach. I've always enjoyed suspense and feeding my inner Poirot with various theories while looking out for signs in their sly, concealed bodies.īut as Kagti is a bit hasty in giving out clues, I can't say I was blindsided by the turn of events.
And it is this very psychological post-mortem of why over who that dictates the immensely fascinating and absorbing developments of Reema Kagti's Talaash.
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