Release Date:27 Nov 2015
Director: Imtiaz Ali
There have been many films which have been made or inspired by many English novels, or in some cases, a popular proverb or an adage. This week's release Imtiaz Ali's TAMASHA falls into the latter. Inspired by the Shakespearean's extremely popular monologue, 'All the world's a stage and all the men and women merely players', TAMASHA stars Ranbir Kapoor and Deepika Padukone in the lead roles. Will they be able to recreate the magic that they did the last time with YEH JAWAANI HAI DEEWANI or will the magic of this pair fizzle out, let's analyze.
The film starts off with the onstage robotic 'introduction' of Ved Vardhan Sahni (Ranbir Kapoor). The story then gets into a flashback mode wherein the audiences are introduced to the childhood of Ved, who gets mesmerized and enchanted by stories. The 'impact' of these stories told during his childhood is so huge that it starts hampering his 'corporate life'. The story then takes the viewers to Corsica, the place that he chooses to break free from his routine stereotyped life. It is here where he meets Tara Maheshwari (Deepika Padukone), an 'Asterix' crazy Indian who gets stranded in Corsica because of her lost baggage. When Ved and Tara meet, they get into an agreement that they will refrain from asking each other's personal details and that whatever they tell each other will be only lies, and lastly, 'what happens in Corsica, stays in Corisca'. That's why they decide to become 'Don' and 'Mona Darling' respectively. Thus continues their journey of break free and unknown identities. The duo enjoy each and every moment of their life to the fullest, till one day Tara gets her passport to go back to India. The two depart with the promise that they will never meet each other ever again. Life then becomes the routine for the two in India (although in different locations)... till one day they meet again. That's when they, not just reveal their real identities, but also grow extremely fond of each other. When the going is simply smooth and great, Ved proposes to Tara in front of his entire office by giving her a ring. However, contrary to everyone's expectations Tara drops a bombshell on Ved and his friends by not accepting the ring. This corporate show shatters Ved's life, so much so that he gets fired from his job. What is the reason that Tara to reject Ved's proposal despite being head over heels in love with him, does Ved ever get his job back, how do Ved's parents react to his job failure, do Ved and Tara ever come together is what forms the rest of the story.
There were extremely high expectations from the film's director Imtiaz Ali, whose last film was the hard hitting HIGHWAY. The sad part is that with TAMASHA, Imtiaz Ali fails to live upto the expectations and falls flat with the film. The movie suffers from a plot that appears confusing and is convoluted for an avid cinegoer. The film fails to bear the trademark way of his writing and the quintessential 'Imtiaz Ali' style of film making. His direction fails to complement the screenplay and vice versa. The movie is not a regular run of the mill flick and the proceedings are clearly aimed at the classes rather than the masses. The film's first 20 minutes that aims to setup the tempo and establish the character of Ranbir, might appear as boring to some. While (comparatively) the film's first half is refreshing, the film's second half seems to drag majorly. This hampers the film and acts as a spoilsport in the progress of the film. While on one hand, the movie gets entangled in a web of its own plot while trying to resolve Ranbir's identity crisis, on the other hand, the movie does have its 'wow' and 'not to be missed' moments in the form of the proceedings in Corsica, Deepika's first meeting with Ranbir in India, Ranbir's outburst and also Ranbir's 'storytelling' to his parents.
Now for the lead actors, Ranbir Kapoor, whose last film was the box-office dud BOMBAY VELVET, comes up with a lively performance in TAMASHA. He fits into the character like a fish takes to water. His chemistry with Deepika Padukone is extremely likeable, believable and relatable. The kind of chemistry that these two share on screen; one is always reminded of the magical chemistry between Shah Rukh Khan and Kajol. Despite putting in a commendable performance, the lackluster screenplay and the directionless direction surely plays the villainous speed breaker in his role. As far as Deepika Padukone is concerned, she is totally at ease with her character in TAMASHA. Her ability to 'switch' emotions in her role is superlative and really commendable. Every time she comes on screen, she simply lights it up with her magnetic presence. There is never a dull moment in the film when she is on screen. As far the other actors in the film are concerned, they simply help the film in moving forward.
Music has always been a mainstay in all of Imtiaz Ali's films. But, sadly, in TAMASHA, it is otherwise. Despite A.R. Rahman at the helm of things, the music (sadly) does not help in lifting the proceedings. At the same time, one cannot ignore the melodious track in the film in the form of 'Matargashti' that stays fresh in the minds of the viewers.
The film's editing (Aarti Bajaj) is below average (the film could have been better had the editing been watertight. The film's cinematography (Ravi Varman) is commendable but could have been better, as the exotic locales of Corsica could have been shown in a 'much better light'.
On the whole, TAMASHA comes across as a colossal disappointment in spite of towering performances and chemistry between the lead stars. At the box-office, the film will find it difficult to sustain and negative word of mouth will further erode its business capacity to a great extent.
A.R. Rahman's music can often be tricky. You may not really get bowled over, you may get hooked on to it right away or you give it a few listening before it starts - as the cliched goes - growing on you. Hence, you wait to hear the entire soundtrack of Tamasha at least a few times before passing a verdict. With Irshad Kamil as the lyricist, you are sure though that it would be a classy score in the offering.
MUSIC
The start is just perfect for Tamasha as an immensely catchy number, 'Matargashti', is heard first. With a European sound to it, one also gets a strong sense of Hindi film music from the 60s (which was in itself inspired by European music) in this foot tapping number which is fun, lively, spirited, energetic and quite easy on ears. Mohit Chauhan lets his hair down for this playful number, which has unique lyrics and makes you hear this one quite closely, especially when references to Dev Anand films are made. A chartbuster from the word 'go'.
The fun continues with the number 'Heer Toh Badi Sad Hai' which again has a 60s/70s style to it. This time around, Rahman ropes in Mika Singh who is clearly enjoying himself behind the mike. Though one would have expected a sad outing with a song that carries a title like this, it actually turns out to be quite spirited with words like 'utter mad', 'very bad' and 'sad'. Nakash Aziz chips in well too for this Lakshmikant-Pyaarelal kind of song that carries good vintage feel to it and would turn popular soon enough.
It is after a hiatus that the voice of Alka Yagnik is heard and what makes it all the more remarkable is that a regular with Nadeem-Shravan makes a comeback of sorts with A.R. Rahman no less. Now this is one track that gets into the Jab Tak Hai Jaan mode as the mood of the album shifts from being playful to romantic. Titled 'Tum Saath Ho', this one has a quintessential A.R. Rahman sound to it with a slow pace and soothing orchestra that makes for an out and out love song. While Alka Yagnik leads the charge, Arijit Singh joins in half way through the proceedings. A decent number, which would take time to grow.
The real 'dhamaka' comes immediately after though in the form of 'Wat Wat Wat'. With the sound of 'dhol' beats kick-starting the proceedings, one knows there and then that this one has an eye on youth. Moreover, funny lyrics by Irshad Kamil further make this one a fun track which is bound to be aided further by attractive picturisation and choreography. Arijit Singh and Shashwat Singh come together for this song that later also appears in a 'Vengeance Mix' that has beats doing the trick. Expect this one to gain popularity in quick time to come.
Since the film is titled Tamasha, it was pretty much on the cards that a 'tamasha' would be pretty much on display in the film as well. A musical theater show is evidenced through 'Chali Kahani', a situational outing, which remains high spirited and energetic right through. With elaborate arrangements pepping up this five and a half minute long piece, it is spearheaded by Sukhwinder Singh who gets good support from Haricharan and Haripriya. This one should look good on screen once the narrative is on.
Lucky Ali is heard after a hiatus and it is always a pleasure to hear his vocals. Especially with A.R. Rahman as the composer, one expects nothing less than magical once Lucky Ali takes over the mike. This is what happens in 'Safarnama', which comes at just the right time when back to back energetic numbers like 'Wat Wat' and 'Chali Kahani' necessitated a pause soon after. With minimal instruments in the background, this ear pleasing number could well be the journey song of Tamasha and make for an eye pleasing big screen viewing.
Next to arrive is a near four minute long instrumental piece, 'Parade De La Bastille', which is an out and out European track and hence carried an international appeal to it. Mid-way through the track there is fun element that comes in when the base sound of 'Matargashti' is heard all over again. This one should be a good fit into the storytelling of Tamasha.
The album concludes with 'Tu Koi Aur Hai', which is the lengthiest of them all, what with its duration being over seven minutes. A. R. Rahman brings himself behind the mike for this immensely soothing number that makes you listen to it attentively, lest a nuance is lost. A beautiful love song which moves on at a slow pace and immerses you well into the sound that warrants no distractions whatsoever, 'Tu Koi Aur Hai' - also featuring the vocals of Alma Ferovic and Arjun Chandy - is as classy as it gets and gives a right culmination to Tamasha.
OVERALL
The soundtrack of Tamasha delivers more than what on expected from it and is a good mix of classy and massy score. While one can't miss the characteristic touch of Rahman in the Irshad Kamil written songs, what makes the score special is the fact that there are a few instantly catchy numbers as well which ensure that commercially too, Tamasha would do well in quick time.
India
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