Yes, “Tamasha” is all glitter — spectacular places —
Padukone, specifically, brings living her otherwise one dimensional character past the on paper version — as Tara, she’s the self styled psychiatrist for hero Ved (Kapoor) but becomes his muse first. Kapoor is mostly himself, odd on occasion, facetious, extreme, likably Kapooresque, rather natural in others. But neither can actually go past the plastic (cardboard?) Imitation quality and absurdity of the characters.
Yes, all that glitters ISN’T gold. Oh well.
Currently, he’s well on his way to finish and vindicate his dad’s 6-year old appraisal that using the type of movies he is (mainly) signing, he is all set to be “now’s Amol Palekar.” But Palekar had repeat value and even had some wholesome offbeat movies that were successes! Kapoor wants truly excellent director — PRONTO!
Naturally, she herself is almost doing the same, but she senses he is extremely talented, see?
And thereby hangs a traumatizing story — of a youthful Ved, who loved to pay attention to narratives, see them in his mind’s eye with the overtly prolific imagination as well as formulate other narratives, has killed all his want and toed the line of a dutiful son in a normal life according to the diktat of his dad (Jawed Sheikh). Moral of the storyline: Follow also, and the life span you were created to live the profession, yet exceptional.
The picture so starts and finishes using a surrealistic stage demonstration with all the remaining narrative in one long, convoluted, occasionally humorous (the “husn ki vaadiyan” line is hilarious!), seldom consuming and frequently tedious and over-drawn-out flashback.
And also, what about school library and his classroom teaching?
The sequence where Ved convinces them and narrates his own story that is authentic to his parents isn’t overly believable wish such things were not so difficult! But the most illogical assumption is the fact that Ved, when he meets Tara, is an enyclopedia on everything in classic Hindi film from Dev Anand to “Don.”
This might seem like nitpick, but come on, this is no mindless masala manoranjan picture, right?
Additionally, apparently at whim, we get slides revealing “One Year Later” and “Yet another Year After” as well as the likes. Actually, were these characters about missing each other when in heavy love, so casual?
Also, the way two individuals who thoroughly enjoyed each other’s business really determine never to meet again , nor even keep each other’s cellular telephone numbers or search on social network sites looks silly in 2015, particularly when they’re otherwise so daring and realistic about love, sex, lust et al!
Ali determines to improve his by-the-movie raising disconnect with all the Indian audience by bringing in a misguidedly hybrid combination of Shakespeare, nautanki as well as the “tamasha” kind of amusement that’s zero identification with both fans of amusement as well as the adherents of so called “quality” cinema. The music lacks the esoteric lyrics and tune both as well as soul tend not to help. Yes, by the movie’s parameters, the tune “Heer” is used imaginatively.
So diverting and bizarrely presented is the content of the movie the technical side (dazzling outside, gaudy stage inside, both in camerawork and production design) does not necessarily matter.
Consequently men, unless you’re awful enthusiasts of one or even more of Padukone Ali, Kapoor or Rahman, stay away and go see a riveting nautanki!