Best Bengali movies of 2013 – First Quarter!

How are you movie watchers from the land of Rabindranath Tagore and Satyajit Ray? I hear, they cut cakes together now-a- days! Celebrated their birthdays recently!  The film industry of this part of the world is seeing some change. Some change for the good. I believe every time I am discussing something with someone from this good old place which was once called Calcutta (now known as Kolkata), the refinement of the thoughts always reflect cream and something else that raises the quality of the discussion. So, discussing movies has always been a pleasure! Movies critically analyzed and then pitched with mixed emotions and changed climaxes. I am sure you did this with your silver screen peer as well.

Experiment, Analysis, Conclusion...
Experiment, Analysis, Conclusion…

Bengali films, rather the new age Bengali films have really managed to make place in the hearts of urban Bengal. However, there are still senseless movies produced for the huge audience in the remote areas of the state. I would not chastise those producers and directors for capitalizing illiteracy; however, I would like to let them know, that we know as well. There is a very thin line between senseless and sensible in terms of creativity and here lies the question. For those who mint money with item numbers and rain dances, are they happy to serve their hunger with these or have completely murdered their urge for excellence in terms of creativity and inspiration!

Recently, I saw “Goynar Baksho by Aparna Sen and the national award winning movie “Shobdo” by Kaushik Ganguli. I loved them for entirely different reason, although I can only say that both of them (the directors) were brilliant in their approach. One explained contemporary commercial movies and the wide window it has to improve. The chances where one can improvise and make it an out and out entertainer without letting the audience know that its fiction. On the other hand, Shobdo was an attempt for which I should thank the producer first. I don’t know how Mr. Ganguli managed to gather enough courage and money to go and hunt for a dream film like this. I was overwhelmed with the editing, cinematography and specially the sound effect of Shobdo. It was rightly felicitated with the National award in Sound Design.

goynar baksho

Speaking more about Goynar Baksho, Aparna Sen adapted a story of Mr. Sirshendu Mukhopadhyay and brilliantly screened it with Mousumi Chatterjee excelling in her flick as the ghost Pishima protecting her closet of jewelries. Konkona Sen Sharma, Saswata Mukherjee, Paran Bandyapadhyay, Shrabanti and others did exceedingly well. The director used some apt visual imagery to portray the three generations attached with that particular box of jewelries. You can still watch the movie to know more about it.

Aparna-Sen

I was rather interested in describing a well made commercial film that can also fit into the genre of art films. If I am through to you, you can reciprocate with names like Hawa Bodol in Bengali or something like Barfi in Hindi. Aren’t they commercial films? They are thoroughly commercial ones. The ones with high box office risks, but the way they are presented brings this outlook of intelligent movies. The film makers who tend to reason the prospects of Masala movies can learn how to cook a quality recipe from film makers like Aparna Sen. She thanks her producer for realizing her long back dream script into a successful movie with a gesture indigenous to the crispy dialogues of Pishima!

Well, AnandaBajar Patrika – the eminent newspaper of Bengal rated Shobdo with an all time best of nine and a half on ten! Shobdo is acclaimed with a national award for sound and one for the best Bengali movie. Screened in various international film festivals and rated highly. Numerous reviews and many a wonderful words spent to describe this lifetime work of Kauhik Ganguli. How should I describe it now? A story about a Foley artist (Ritwick Chakroborty) who gets over-obsessed with the creativity involved in his work and fails to register normal human voices. He becomes engrossed in background sounds, precisely the free sounds in the nature. So, his wife (Raima Sen) becomes worried about this abnormal behavior and takes him to a psychiatrist (Churni Ganguly). She chases the case to its end and I would love to realize something what she actually discovers. Human beings like them are labeled abnormal, however, we the so called sane section of the society are more vulnerable. Anyways, go and watch the sound of Shobdo in case you missed it in the theater!

kaushik-ganguly shobdo-movie

Shobdo, is a film about a film technician or rather sound artist. We hardly wait in the theaters when the size of the font decreases. We hardly realize their contribution towards the movie. They don’t know about us and we don’t try to know about them. The film was special to me for many reasons. This was one of the major ones. It was wonderfully crafted barring a small section where Victor Bannerjee (respect) was probably over used. I was mesmerized with the acting skills of Raima Sen in this particular movie. The director was very particular about the continuity and rightly describes a splendid art film. Shobdo was articulately designed for the hearts of a niche crowd that applauds good work, rather exceptional work.

To wrap up a heart feeling discussion about two recent Bengali films, I would like to express my expectations and excitement for the entire year. I wish like the last year, I get to watch a flock of differently beautiful Bengali movies. Some of them are already waiting to hit the screens. Fingers crossed for “Ganesh Talkies” by Anjan Dutt.

Signing off from the desk of mymotionpicture till I find a SOUND jewelry Box to sponsor my movie…

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Film criticism – Expecting more insight in film making…

In an attempt to describe and rate movies, the basic ethnicity of human instincts gets deceived very spontaneously. A film get released, hits the theaters, welcomed or rejected by audiences and then people speak about its success or failure stories. The entire routine of film making is more than what is described by the film critics in India. I wouldn’t have hesitated to name a few of them; however, a sense of gratification encapsulates my latent wishes. I am not writing this to criticize film critics in India, rather to reform the whole practice of film criticism in India. In one of my other articles in my-motion-picture, I voiced my opinion about development of authentic motion picture criticism in India and here I would like to speak some basic things about a proper film criticism. An expert observation and a comprehensive perception of the entire film should be the words of the film critic who happens to earn his living through these appraisals and excerpts.

I got filmed!
I got filmed!

If Pather Panchali marked an era in Indian film industry where potential contenders are recognized worldwide, the director of the film, Satyajit Ray should be accountable for his contribution towards the development of the film industry. Be it the Mumbai industry (Bollywood) or the prominent regional film industries in India. In one of his writings, Ray spoke about the dicey reviews and unprofessional approach of the film critics not only in India but also a few hailing from some developed countries of the world. In his words, “Since film critics repeatedly said that Pather Panchali was my best film, it naturally evoked a question in my mind; hasn’t the effect of criticism been beneficial to my art?

Long times; many a springs and autumns are wasted. We are living in 2013 and still film criticism in India is merely a profession where the so called intellectuals draw money for describing box office reports and how an item number is so high on the list of a commercial radio channel chart-buster! Pity… In terms of a promising criticism, a genuine film critic should ideally be a bridge between the film maker and the audiences. Some of the films made might not be ideal for the audiences of a particular region. Or, an adaptation from a novel might require some basic changes which should be readily accessible and reasonable to a film critic. However, the critics I read are mostly after the directors if a film fails to appeal in the first week. Similarly they praise some senseless cinemas which might see some bright opening due to the presence of a super star. I would echo Ray again and would like to request these film reviewers to drop their pens and rather establish their identity as someone from the crowd.

A film critic should have the knowledge and insight of the entire process of film making from scripting to editing. He should be clear with his sentences and descriptions which will enlighten the audiences about the pros and cons of a movie. I personally believe that a film maker or director hardly needs to know anything more about his own film. He knows where his movie excelled and what the limitations were. He, as a director has anchored the entire team to produce something that he would expect audience to relate to. In this scenario, if a critic cannot substantiate his words and describe the merits and demerits of the film, it is surely going to irritate the director. A critic, as I already mentioned, should recognize that a film is not a personal creation rather a joint venture. He should understand that a bad movie is not entirely the result of poor direction; a blockbuster is similarly a collective effort where the director should get a major share of the praise.

Black reels hurting arty Indians.The problem does not evoke a sense of emergency among the readers of this article. Accepted! But, as an audience you should also accept your money going wayward. You tend to believe reports from people who hardly connect with the art of film making. Bribes and personal endorsement from the producers ensure the box office results and then after those cold and rough three hours you have a tendency to accept the bleak prospects of a mindless film. A good movie fails to reach more audiences due to the similar reasons. How will the audience assess a movie when the preacher speaks ill of it without knowing the basic aesthetics of film making.

In this entire course of the article, I wanted to encourage new-age film students to come in front and take up the onus of describing films and its deeper implications. Film is a form of art that requires the collective effort of other artists and thus as a critic you should have the understanding of each of those sections, at least the basics. Satyajit Ray’s famous quote on his decision of making music for his films, “Ever since Two Daughters I’ve been composing my own music.” speaks vividly about the importance of a basic aptitude in all the forms of art that constitute a movie.

Motion pictures or films are almost like daughters to a director. They are nourished, fed, molded, reformed and corrected for so many reasons to be that piece of art. The art that causes tears and laughter in the theaters, that creation which demands claps and praises from the audiences and that piece of commerce which will fetch trust and money for the producer who believed in the concept of the film.  So, let film criticism evolve as an art in itself and not a duping profession that manages to draw a salary out of some dead words.

Signing off from the desk of my-motion-picture till critics rises with a new sun as the key-light of scenes and cinemas in India…

 

Truffaut: from “400 Doors” to “Confidentially Yours”!

Francois TruffautThere are two kinds of directors: those who have the public in mind when they conceive and make their films, and those who don’t consider the public at all. For the former, cinema is an art of spectacle; for the latter, it is an individual adventure. There is nothing intrinsically better about one or the other; it’s simply a matter of different approaches…”

François Truffaut

Did You Know: As the french director drew inspiration from films he witnessed during the war his youth compelled him to criticize some senseless movies and mindless films. He was not sure whether he wanted to be a film maker or a critique. However, he ended up in being an institution of films and film making! francois_truffaut1

Filmography of François Truffaut

Hitchcock loves to be misunderstood, because he has based his whole life around misunderstandings.”

— François Truffaut on Hitchcock.

francois_truffaut

Hawa Bodol review – Analysing dreams!

hawa-BadalAs I mentioned in the preview that Hawa Bodol will certainly evoke some unsung strings of friendship, the movie actually offered some more gastronomy to chew upon. In this limited space of expression, I would rather put some light on how this entirely comic drama actually spoke about split personality of a normal human character. How a stable, retrained house husband becomes a hooligan in the company of his old school friend and how an unruly, struggling rock-star yarns to settle down in his life and cater a family with a sweet wife and a child. It was more about realizing dreams and it was more about realizing that dreams are often misleading!

hawabodol1 hawabodol Let’s speak about human emotions and some basic genre on which human emotions actually roam about. It’s like that orbit on which this planet revolves around the sun. The basic human that he is and some other personalities that influence him make those different emotional orbital positions, although incase of human beings, we are usually trained to occupy the normal positions as fast as possible!

hawabodol2 hawa-bodol-630-march-25Was that difficult? If no, Hawa Bodol was that simple and if you have any questions about the statement above, you should watch Hawa Bodol at least once.. Oh! I forgot to mention it was a terrible laugh-a-thon throughout the movie and the span was hardly realized baring some middle B-plots of the movie. Coming back to the movie, director Parambrata Chatterjee was spot on with his message. He wanted this film to have that light hearted approach and speak some of the unsaid whims and fancies of every heart. The characters in the movie played by Rudranil Ghosh and the director himself will definitely touch the hearts of everyone. They were hardly comprehended as acting professionals. You will be happier to believe them as real characters creating nuisance all the way.

hawa-bodolAnindya Bose as the script-writer generated a powerful storyline along with catchy one-liners that are still on the air. Some of the conversation among the two old friends played by Rudranil and Parambrata were so hilarious that I missed some of the following dialogues. The women leads, Raima Sen and Neha Panda enacted their roles with precision. Although, Raima had a very little scope to display her acting skills, Neha tried her best to convince her critics. The music by Indradip Dasgupta along with some harmonious playback singing by Sunidhi Chauhan, Arijit Singh, Sahana Bajpayee, Mohan Kannan, Saptarshi Mukherjee and Vishal Dadlani was aptly timed and were innocently refreshing. Cameos from other actors including Kaushik Ganguly, Komolika, Dwijen Bandyapadhay and others were added flavors of the movie not to forget the kid-star Kabir who enacted the mischievous son of Parambrata!

hawa badalDescribing the storyline of Hawa Bodol in terms of explaining complex emotions of human beings would be the right review I thought. How wonderful it would have been if each one of us had the liability to flaunt our inner desires and not compromise small scale happiness on the name of relationships! Well, it will be a topic to debate upon. However, I was mesmerized with the thought that this movie actually spoke about mental health. It spoke about well being of an individual amidst all professional and emotional turmoil. Jeet and Raj, bonded with a friendship that describes their childhood exchanged their lives to break free. Breaking free from the shackles that keep them away from being that perfect happy human being they longs to be. Amusing in terms of a movie plot, yet so relevant to the situation of every odd human being who goes to the hotel and wishes to order something ordered from the next table! I mean metaphors in all aspects unless I was too hard to comprehend!

from the director's POV
from the director’s POV

In a nutshell, Hawa Bodol was a movie that tried to describe the hidden urge of a soul to be free. Free from worries that actually shouldn’t have been there, free from routines that hurt your cozy mind, free from rules that strangulate your otherwise simple life and bring in worldly concerns that ideally replace happiness and peace of mind. Having said that, the change of personality in Rudranil and Parambrata as they step into each others’ characters are predominantly entertaining. Inspired from a Hollywood comedy, “Change Up”, Hawa Bodol was indigenously Indian and very much Bengali for all the above reasons and may be more. All credits to the cast and crew of Hawa Bodol and a big congratulation to Parambrata Chattopadhay for his second film (after Jio KAKA) and definitely for evolving into this serious and sensible director that this nation badly needs!

Signing off from the desk of mymotionpicture as the change of seasons and the onset of spring in terms of real and reel casts its spells on the city of joy.. Echoing the laughter(s)!

My rating: 8.5/10

Hawa Badol – Expecting blooming friendship…

After a long while it feels great to occupy a cozy chair at one of those theaters in Kolkata and watch a Bengali feature film that will surely offer some food for thought. Oh! I forgot to mention that the second directorial venture of one of the most sensible cinematic professionals of Tollywood (Kolkata’s film industry popularly called As.), Parambrata Chatterjee’s “Hawa Badol” is set to hit the screens today (22nd March, 2013).

A story primarily speaking about bonds of friendship and childhood companionship have already been narrated so many times by so many film makers. However, this flick from ParamBrata is surely going to touch the hearts of care –free residents of this metropolitan city. The city bound hectic activities of a so called established expert and some unrecognized efforts of a creative guy super impose their truths and philosophies of life. They battle their differences and embrace their equalities to fabricate something that they longed for. What came in between then?

hawa-Badal

Hawa Badol, starring Rudranil Ghosh, Raima Sen, Neha Panda and the Director himself along with cameos from established actors from the industry will surely tickle your humor bones along with depicting some renewed crisis that the present generation faces every day. The bread and butter of this career centric generation do lack the time to stand and stare if I have to quote W.H.Davies, and apparently that differentiates success and happiness in the real world. The trailer of the movie along with the music tracks truly reminds me about some happier times and I hope the story does the same thing.

As far as the success of the Hawa Badol, the movie is concerned, I am personally very hopeful about the outcome of the movie. The best films produced last year had nothing in common apart from the fact that they had something innovative in them. Some stories that were never told or some known stories told in a way, like never before.

As I head towards the premier of the movie, I would like the audience to decipher this candid movie from the bottom of their heart that genuinely is a new generation flick celebrating friendship in an era of i-phones!

Signing off from the desk of mymotionpicture till I come back and rest a while after the intense Hawa Badol…

Kai Po Che – coated with friendship and soaked in Love!

kai-po-cheThe Jailer signed the release papers in the detention center and his friend was waiting to welcome him to the new but geriatric world of “innocent” people. A very veteran and common start for a movie from the makers of Rock-on! However, like me, most of the audience was not ready to judge the book by its cover.  Kai Po Che by director Abhishek Kapoor is a sensible entertainer contrasting the likes of Zila Gaziabad and mindless films like them. Based on Chetan Bhagat’s best-selling novel 3 Mistakes of my Life, the movie has evoked certain basic human traits which have actually appealed to a huge number of audiences, teenagers being predominantly huge in the track.

Kai_Po_Che-1Friendship, love and drama are some of the major Indian cinematic elements, which if missed will make the film a sure flop show! Verisimilitude was the catch line of the movie Kai Po Che. Raj Kumar Yadav, Sushant Singh Rajput and debutant Omkar Shastri played Govind, Ishan and Omi respectively. Three best friends, with very different perspective of life yet glued in the bond of friendship portrayed the unsaid essence of companionship. The film and the novel, both are characterised on a very Indian, rather Gujrati background which eventually let the audience connect to the theme of the reel very easily. The Bhuj earthquakes, Hindu-Muslim riots, death of Ishan, were some of the major cinematic turns which made the movie spicy.

Overall, everything is there in Kai Po Che that a bollywood-movie audience can expect. High credits go to the cast and crew whose

Introducing cricket in friendship...
Introducing cricket in friendship…

dedication and endeavor was very evident throughout the movie. The sweet and complete love story between student and the teacher must have been enjoyed by one and all. So do not let this semester go without watching Kai Po Che or else it would be just another mistake of your life! A relief from the general mindless movies produced in India! Hope our audiences stop yawning!!!

My Rating: 8/10.

– Reviewed by Shreya Goswami.

Pen-Guest Author @mymotionpicture.

 

Rejection in the Oscar Awards – Yawning audiences and Duping producers!

We watch movies in theatres and now we have multiplexes to cater our pride and beat the hectic city schedules. But, have we sold our logic and reason to some unknown sheriff from a distant land or are we relentlessly poised to receive whatever trash we are subjected to? The answer to the question seems rhetorical. India produces the most number of films on this planet. However, we are yet to get congratulated by the biggest academy award in films, the Oscars! Let’s ask ourselves. Why?

India’s first ever entry to the Oscar “Mother India” got the nomination in the category of best foreign film, but lost by just one vote. After that it was a long wait of 31 years as “Salaam Bombay” by Mira Nair made it to the list of the last five. Recently, India’s interest in the Oscars was re-ignited when “Lagaan” was nominated but lost to “No Man’s Land”. I said recently to be ironical enough!

It does seem the Academy tends to favour European films with France leading the foreign language film nominations with 34 in total and having bagged nine Oscars, and Italy following with 27 nominations and 10 wins. But the Oscar has also gone to movies with people from Arab, Far East and Slavic backgrounds. Indian films never seem to have fitted the Oscar bill. Satyajit Ray, whom the Academy conferred with the “Lifetime Achievement Award” on his deathbed, never bagged a film-specific award. His “Pather Panchali” won 11 international awards, but no Oscar.

When will India represent Oscars like the ones in Europe and America?
When will India represent Oscars like the ones in Europe and America?

Ironically, Vittorio De Sica, who won two Oscars for “Shoeshine” and “The Bicycle Thief”, had deeply impacted Ray’s work. Even last year’s Oscar-nominated Iranian director Majid Majidi is a self-confessed admirer of the legendary Ray. Besides Ray, many filmmakers and an endless number of films have missed a chance at the Oscars but have gone on to join the repertoire of the finest cinema of the world. They include Jean-Luc Godard and Francoise Truffaut, masters of the French New Wave, and others like Yasujiro Ozu, Michelangelo Antonioni, Mrinal Sen, Claude Chabrol, Alain Resnais, Kristov Zanussi, Robert Bresson and many more.

The other Indian to have won an Oscar is Bhanu Athaiya, well-known costume designer from Mumbai. She was jointly named for the best costume designing for Richard Attenborough’s multiple-Oscar winner “Gandhi” (1982). In 2005, filmmaker Ashvin Kumar’s “Little Terrorist” got nominated for the Academy Award in the Best Short Film category. And then in 2006, “Born into Brothels”, a documentary filmed in part by children of sex workers of Kolkata took home the golden statue.

With Indian studios churning out 1,000 films a year, it has the potential to be a film superpower. An Oscar will help in consolidating its power. But most experts say that India is simply not sending its best to the Academy. We still believe in films that make money in box office and we deprive that handful of quality motion pictures celebrating the bogus and senseless Indian films produced all round the year. Leaving a few alternate film makers who are recently making the headlines, the trend of Indian cinema never took the right decision of making and promoting better stories along with quality screenplay and splendid direction. Believe me, the jury members of the Oscar look for strong scripts with tight direction and not stories of ghosts, disabled people or a historic literature that fails to go up to the standards of Gladiator or Lord of the Rings! So, why don’t we send the right ones?

India's recent entry to the Oscars...
India’s recent entry to the Oscars…

I believe the financiers are skeptical  lest they lose this so-called commercial market and the chance of looting the audiences by showing senseless trash for a tedious 180 minutes! The answers are still resonating down your throat, come on and speak it up! India cannot be a country producing films with rain dances! We have a better appetite for movies and we will claim our rights very soon! Investigate!

Signing off from the desk of mymotionpicture, expecting disarray in the system of film-making in India…

Top five Hindi movies of 2012

As the entire country celebrated 100 years of Indian Cinema, I joined the party on my discretion and I am happy to figure out some exceptional qualities reflecting lately in Indie movies. The fact that there will be senseless movies in India and “keep your minds at home” comedies is almost accepted country wide. However, the number of quality films produced in India does show a formidable change in trend. Nonetheless the change is positive as well.

Are we missing the rain dances then? Or should we watch more Kahaani-s (real stories) to ensure the establishment of superior motion picture activities in our country, known for its rich cultural values.

I would like to share the top five Bollywood movies according to my perception and the basic reasons why these endeavors should be highlighted. The director of an exceptional movie does play an important role in bringing out life from a story. My list of top five Hindi movies -2012 reflects movies that did justice to the art of film making.

  1. Kahaani
Parambrata and Vidya Balan in Kahaani
Parambrata and Vidya Balan in Kahaani

Genre: Thriller.

Released on: 9th March, 2012.

Writer-Director Sujoy Ghosh took the entire country by surprise along with a handful of Bengali theater actors and one Vidya Balan at the very beginning of the last year. The promising story and an uncanny ending marked the establishment of a new age thriller movie where the audiences were left awe-struck. Nawazuddin Siddiqui (as Khan), Parambrata Chatterjee (as Satyaki/Rana), Saswata Chatterjee (as Bob Biswas) and Vidya Bagchi (deliberately as Vidya Balan) took the story to a different level. Sincerely waiting for Kahaani-2.

USP: Kolkata, Durga puja, Vidya Balan and Bob Biswas!

  1. Vicky Donor
Ayushmaan and Yami in Vicky Donor!
Ayushmaan and Yami in Vicky Donor!

Genre: Comedy/Romance

Released on: 20th April, 2012.

Director Shoojit Sircar made this film with sleepless nights with the fear of rejection as first-time Producer John Abrahim backed him up with muscular enthusiasm. However, the youth section of the society welcomed this fresh story with open hands. The story of a man who serves the society by donating sperms is not on air very often! Ayushmann Khurrana’s chemistry with the doctor Anu Kapoor and his love interest Yami Gupta tickles the right emotions at the right time. The freshness of the story and the approach of the film maker along with the music and crisp dialogues make Vicky Donor worth watching!

USP: Ayushmann Khurrana-the Singer, Anu Kapoor and the music!

  1. Gangs of Wasseypur
A still from the movie...
A still from the movie…

Genre: Action/Crime

Released on: 2nd August 2012.

The story set in the remote village of Wasseypur stands out from most of the action crime thrillers of the year and earned compliments from even the best of film critics of the country. The director, Anurag Kashyap with his candid story telling talent and actors like Manoj Bajpayee, Richa Chadda and Nawazuddin Siddiqui turned the dice to convert a good cinema into an exceptional piece of film art! Dialogues with rural accent mixed with unmatched cameos from the actor uplifted the story of a gang to an entirely different level.

USP: Manoj Bajpayee, Nawazuddin Siddiqui and Cinematography.

  1. Barfi
Ranbir in a still from the movie
Ranbir in a still from the movie

Genre: Drama/ Comedy.

Released on: 14th September.

What adjective would best describe a movie like Barfi? I have no idea! Anurag Basu sewed the movie with pearls from his heart and strings from his brain to an utmost level where perfection was not very far. Ranbir Kapoor doing is Chaplin tribute role, Priyanka Chopra (as Jhilmil) acting as an autistic girl and Ileana D’Cruz (as Shruti) portraying a Bong housewife excelled. All the characters were perfectly placed and the movie also saw the last act from veteran actor Haradhan Bannerjee (as Daju). Barfi certainly celebrated love and life and rightly represented India in the Oscars! Or did we have better movies?

USP: Music by Pritam, Acting by Ranbir Kapoor, Priyanka Chopra and Anurag’s visual metaphors!

  1. Talaash
Amir and Kareena in a still from Talaash!
Amir and Kareena in a still from Talaash!

Genre: Mystery Thriller

Released on: 30th November.

Reema Kagti’s Talaash is a genuine mystery thriller that took me by surprise. There were instances that still make me feel how good a movie Talaash was. The more than one time watch of the movie also divulged some of the social commentary that the director conveyed in this movie. Amir Khan, Kareena Kapoor and Rani Mukherjee were spectacular in this movie as were the other actors including Nawazuddin Siddiqui (as Tehmur). The crisp dialogues, mesmerizing music and astonishing cinematography certainly help the standard of the movie. The stand out performance of the entire team to create something so uncanny yet so real made me enlist Talaash over a few other movies!

USP: Kareena Kapoor, Amir Khan, opening (montage) of the movie with the song, “Muskaan Jhooti Hai”.

Epilogue:

I enjoyed the last year as some quality movies like Shanghai, Paan Singh Tomar, Chittagong and English Vinglish hit the theaters helping audiences to munch upon something better than over-priced pop corns and obesity catalyzing cold drinks! Although these movies never did business as lucrative as Khiladi 786, Housefull 2 or like any of those typical masala movies, they made an honest effort to uplift the stinking standard of Indian mainstream movies where commercialization is nothing but an excuse to make mindless films! Now do we understand what is still wrong with Indian Cinema?

Signing off from the desk of my-motion-picture till a quality picture gets resonating reflection!

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