I dare not go any sentence further in approving Imtiaz
Ali’s most personal artistic take on love, life and limitless conflicting conditions
around the both, before having a word of strict advice for you that TAMASHA is
not an easy watch. It neither is just another ‘boy-meets-girl’ love-story to
write, shoot, edit and release. Only an Imtiaz Ali can helm the project of such
risky, self-destructive and boomerang-like nature; and my suggestions here are
heading towards Imtiaz Ali of today and not of pre-ROCKSTAR. If JAB WE MET and
SOCHA NA THA were busy twisting the lighter side of love, if ROCKSTAR and HIGHWAY
were falling for the darker region; TAMASHA is a multihued psychological
exercise to reinvent, reestablish and renew your ‘self’ under mystically
painful care and custody of love. TAMASHA is not an extravagant, star-studded,
all flashy WIZCRAFT production of a celebrity world-tour but a cute, tiny,
little bioscope which immediately transports you to the world of your dreams
and your aspirations; where you’re the ‘Tamasha’ and not just a sitting idle spectator.
In the very earliest scenes, Imtiaz makes Piyush Mishra
playing an older than the old storyteller in the film mouth an exposition when
he mixes up with two different stories of worlds poles apart, “toh pareshaani
kya hai? The story is always the same. Do not fall for their names, places and other
details. Just sit back and enjoy.” and that’s enough to hint you about the most
predictable plot one can have for a love-story. Boy meets girl, on the
beautiful locations in Corsica, France. They decide not to reveal their
identities and be complete strangers to each other. Both part their ways. Four years
down, the girl still in awe of the vibrant personality of the boy reaches to him.
He is now succumbed to the all emotionless, motorized and mechanical race of
the corporate world. The girl rejects the new bore. The dejected boy is now
looking for a new end to his story. After all, it is never too late to start a
fresh. Now as an easy entertainment seeker, you may voice a question that why
always the same story, even the tagline on the posters suggests the same but
then, I think TAMASHA was never about the story. It doesn’t take the easy route
with over-simplified solutions to the monstrous-looking problems but decides to
go on the ‘self-discovery’ mode to find some of the toughest answers only you
and life can juice it out together.
There are more than a couple of reasons when I call
Imtiaz the new-age ‘Yash Chopra’. The way he makes it happen, the way he breaks
into the susceptible space of separation and the way he paints the pain, is meticulously
relatable, unswerving and apt. He hardly creates a situation; he just opens up another
unseen layer buried deep within his characters. Apart from the dialogues that
rarely sound anything written, scrumptious camerawork, soul-pleasing soundtrack
by A R Rahman and imaginatively decorated lyrics by Irshad Kamil, TAMASHA marks
towering performances from both the leads. Though the film belongs more to
Ranbir Kapoor’s character in the central role, let me honor Deepika Padukone
first to talk about. The cranky, complaining independent girl of PIKU here
shows off her complete different avatar in a more edgy, persuasive and in pain character
of an anxious lover. You don’t have to make an extra effort to notice some of
her atypical expressions you sure haven’t seen anywhere else. If she
effortlessly makes your heart bleed in ‘Agar Tum Saath Ho’, she also steals it
with her sparkling eyes even while being utterly there in playful conversations
with Ranbir. And now the boy himself!
TAMASHA brings back Ranbir in the race. The inconsistent ‘velvet’y touch is forgiven
and forgotten. The all new and fresh Kapoor shifts gears like a pro. The bathroom
scene, the story-telling session at home, the apology scene; there are moments
that will haunt you even after full night sleeps in the next couple of days. Undoubtedly,
one of the best performances this year!
Despite going into a self-pleasing theatrical mode and uncommonly
imprecise scenes of creative satisfaction, Imtiaz earns full marks on taking
the risk most of the filmmakers today hesitate. Otherwise, who would dare to
compose scenes with profile shots of the leads when they are busy sporting the
most unforced yet intricate emotions on their face? TAMASHA is not flawless.
TAMASHA is not regular. TAMASHA is inspiring. TAMASHA is mesmeric. TAMASHA is a
journey you should take at least once in a lifetime to make it all right you couldn’t
dare all these years. [3.5/5]
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