Picture Post-Mortem: Tamasha

Tamasha is not for everyone. This is perhaps the most used / abused term this year, after ‘India is intolerant‘, of course. Guys, a movie rated U/A, that too with Pahlaj Nihalani mastering the edits, then rest assured that the film must have been made suitable to all, if it wasn’t already. There are plenty of beeps and blanks through the film to keep you guessing.

Tamasha is Imtiaz Ali attempting Imtiaz Ali in the way only Imtiaz Ali can. The non-linear storytelling, hilta-dulta camerawork, mixing metaphors, symbols and fitting them straight into a cohesive flow is what Ali really know how to carry off.

Ranbir and Deepika meet in Corsica, and introduce themselves as Don and Mona Darling respectively. They promise to only lie to each other for the week they’ll be together, and then go their own ways, minding their own business. The duo go around Corsica, making me feel bad about my laptop wallpapers.

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The two of them do matargashti, without ‘crossing the line’, because ‘Jabaan di hai‘. So the film’s initial few minutes feel like a long advertisement for French Tourism, similar to the ones we have to see on YouTube, before reaching what we actually want to see, where the fun lies.

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The film moves back to India.

Deepika finds that ‘What happens in Corsica stays in Corsica’ was a travelling jumla. She cannot get over Ranbir, and goes low for FOUR LONG YEARS, until she bumps into Ranbir, who’s now a corporate rat-racer with a French Beard.

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Deepika observes that Ranbir has changed, and there’s a lot of difference in what he was like in Corsica to what he’s in India. As if the Corsica Ranbir was the McDonald’s burger being advertised and the India Ranbir being what they actually serve.

Tum Badal Gaye Ho…Tum Pehle Jaise Nahi Ho” echoes Deepika. And Ranbir’s like: “7 days jaisa?”…erm…after FOUR LONG YEARS.

Tamasha captures the struggle of existence – to be or not to be. To stay put or run away. To get dictated, or start living. Ranbir’s repressed emotions come out in fits of emotional outbursts. And those parts of his acting are just brilliant, swept-me-off-my-feet types. Deepika is lovable as a hopeless romantic, struggling to stay sane, and going full throttle to reclaim the Don. The film’s a visual treat.

All this while, A.R. Rahman’s music keeps you goosebumpy. He can lift any scene with his slightest of croon. Tamasha’s music stays with you.

I loved the movie. And yes, it’s for everyone. Everyone who dared to dream. Go for this beautiful safarnama.

 

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