Review: Taare Zameen Par
Note: I did not hate Taare Zameen Par. Or Rock On. Or A Wednesday. Not even Black. But the excess praise that came to these nice, but far from extraordinary films really got to me. Somehow, too much unwarranted praise can actually make one dislike the film more and more and magnify its flaws even more.
TZP’s now gone to the Oscars, and while I could bet it’s not going to get anywhere remotely close to the nominations, and despite the fact that this comes almost a year after the film released, just thought I’d post this review, which says what I originally and really thought of the film. It happens to be one of my favourite reviews of a film (by me), and wanted to share it with everyone on PFC:
Okay, okay. Even as ecstatic reviews continue to pour in steadily, I confess that I am far from bowled over by Taare Zameen Par. Maybe it’s because while Aamir Khan has ‘controversially’ gone on record expressing his deep aversion to Sanjay Leela Bhansali’s Black calling it manipulative, I couldn’t help but sometimes use the very same adjective to describe his own directorial debut.
Maybe it’s because I too, like Taare Zameen Par’s protagonist Ishaan, went to boarding school when I was eight years old and neither did I find it such a big deal and nor- more importantly- were my teachers boring clichés, uniformly monstrous and unsympathetic, waiting to pounce on me.
Maybe it’s because much as I wished it wouldn’t happen, Taare Zameen Par did- even if intermittently- fall into that dreaded ‘message movie’ bracket, and occasionally become simplistic, tiresome and I daresay, even a little forced.
Or is it just darned cynical ol’ me- constantly nit-picking and carping- having learned to be critically dispassionate and dispassionately critical, fighting the potential lump in my throat even in the most teary-eyed and horribly sentimental scenes?
Whatever you may think or believe- and I am smiling as I write this- Taare Zameen Par deserves a watch- it is an undoubtedly nice, earnest piece of work, evidently a labor of love- brilliant in parts even if not completely satisfying.
Taare begins with a noisy, cacophonic sequence with numbers and alphabets sinisterly crawling and filling the screen as protagonist Ishaan Awasthi’s Cruella de Vil-esque teachers bark his marks at the unsuspecting audience. It’s a sequence I wished was never there at all, but on second thought it provided such a huge contrast to the delightfully dreamy scene that follows, with Ishaan catching little fish in a mucky drain, that it made one appreciate the sheer beauty of the latter moment all the more.
Fish, in fact- seem to form some sort of a visual metaphor throughout the film-which, among other things pleads us to live and let live- and in that sense it’s rather apt- in a shark-infested world, how, pray- can these little fish manage to survive and breathe?
Immensely gifted young actor Darsheel Safary plays Ishaan refreshingly and poignantly, and if you are allergic to sudden rushes of gushing praise, you might as well skip to the next paragraph. Unflinchingly and deservedly given top billing in the film’s casting credits by Aamir Khan, if there’s one reason for you to watch this film, it is definitely he. This guy’s a small wonder, superbly and confidently carrying the film on his shoulders, and disarmingly natural. There’s this wonderful, innate quality about him that charms and melts you without even trying, and that is the reason Darsheel’s performance always remains the heart and soul of Taare, even when his mentor’s presence threatens to cast it’s shadow over it. Move over Ranbir Kapoor, Neil Mukesh and Co.- THIS is the debut of the year.
Varied emotions swim with ease in Darsheel’s eyes, which speak to you in a way Aamir’s bloodshot, watery ones never do. His Ram Shankar Nikumbh, perpetually in white, falls just short of being a holy angel for the lack of two pristine wings and a halo (It’s only fitting that his name consists of the names of two Gods). His entry seems literally shoehorned into the film, with his wacky clown act (very nicely choreographed by Shiamak Davar) intending to be a surge of energy, but succeeding only in being a sore thumb.
Ram Shankar Nikumbh can be possibly compared to Mohan Bhargav in Swades- he is a voice of reform, the harbinger of change, of hope- but while Mohan was human and relatable, Ram’s obsessive niceness is grating. He can’t help smiling and/or brimming with tears every time he sees a child or launching into embarrassing lectures when he sees their vile teachers and parents.
When Mohan buys a kulhar of water from a boy at a nondescript railway station in Swades, the scene hit you like a shot in the heart, but when in a similar scene in Taare, Ram has a boy working at a dhaba sit and have biscuits and tea with him as he looks on with a soppy grin, you know the film is overreaching for your sympathy.
It is, in fact- rather amusing to see the befuddled look on the children’s faces when Ram narrates them stories in a ‘fun’ mock-poetry style they probably don’t really understand, before they break into enthusiastic applause, as if on cue. It also doesn’t help that all other adult characters, with the only possible exception of Tisca Chopra (very effective as Ishaan’s mother) are portrayed as broad, loud caricatures including a Hindi teacher with hair so long growing out of his ears; it could be tied in a pleat.
But it’s still not too difficult to like Taare- apart from the stereotypes and ‘gyaan’ the film feeds us, the film still works- especially where it doesn’t try to ‘say’ too much, when it stays in Ishaan’s world. And a magical world it is, where even a drop of paint falling off a paintbrush feels like a spectacular event. Take the marvelous sequence filled with luminous slice-of-life moments where Ishaan bunks school and roams carefree on the streets as Mera Jahan (brilliantly performed by Adnan Sami) aptly plays on-after all, it’s the world through Ishaan’s eyes.
Shankar-Ehsaan-Loy produce a great score embellished with Prasoon Joshi’s gems- the pick of the lot is of course the heart-rending Maa, which movingly expresses Ishaan’s anguish and loneliness and brings a tear to the eye- simply because it’s so universal.
Aamir makes a fairly impressive first-time director- he may not be our very own George Clooney yet, but he seems to have good potential. The moments in the film he has handled best are the most intimate, showcasing lovely, unforgettable images of innocence, of childhood- images that we have all been a part of, images that truly stay etched in the mind.
It is these very images so beautifully created by Aamir and writer- creative director Amole Gupte that make Taare Zameen Par special, for they are the ones that truly reminded me of a time long past- a time before I turned into cynical ol’ me.
Filed Under
Movies , aamir khan, amole gupte, Films about children, Oscars, Taare Zameen Par
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you spoke my mind Jahan……great write-up
Totally agree with you. But i guess OVER is the order of the world today, be it in over-hype, over-estimate or simply over-desire!
jahan…u said everything what i had to say abt TZP
“Mera Jahan” happens to be my most favourite song of last year..
It is also one of the best picturized songs of all time according to me.
“Udne Ko Sau Pankh Diye Hai
Chadnee Ko Khula Aasmaan”
Prasun-Adnan-SEL-Aamir deserve an oscar for this song…
ashwin: Mera Jahan was not an SEL composition, nor was it written by Prasoon Joshi. Those were Amole Gupte’s words tuned by Shailendra Barve.
Thanks for pointing that out Aditya. I should’ve mentioned it in my review.
hey Aditya ..
thanx a lot for that information….
its really embarassing to not know the people behind one of my all time favorites……
nevertheless….thanx….
Very good review. I do agree that people do tend to go overboard while prasing a film comming out of bollywood that is good but not extraordinary.The reason for this i feel is that a majority of the so called commercial and big-budget films coming out of bollywood are nothing short of trash.As a result, when the audience gets to watch a well made and fresh film like TZP, they find it extraordinarily good in comparision with the other film.
Well, you are entitled to your views and you have made some correct observations but I don’t think the Swades scene had anything to do with the offering chai-biscuit to a child worker scene in TZP. In fact Swades scene looks deliberate while the TZP scene slips in very natuarally. I don’t think that is meant to be a defining moment of the film etc. It’s just a part of the montage in the song.
I know the Swades scene is more deliberate and pivotal to the plot- in fact it forms the climax of the film, IMO. but it was way more natural and touching than the TZP scene. Not only this one, all the other scenes with Aamir’s teary, soppy face ruined the film for me.
which film deserved to be sent for oscars then??…
Jahan you have written exactly what I felt after watching the movie.Aamir’s character was too good to be true.And there was no need for him to shed tears whenever he sees Ishaan.But definitely as a film it was wayyyy ahead of the trash churned out every year.That way we are ready to overlook any flaws provided we get more films like this.
The poiint AK trying to make was when Ishaan need empathy and help from Parents he is sent away to the boarding school not. Boarding school is not a wrong thing in it self and most of the rich parents send their kids for various reasons and it might be a fun to be there but in case of Ishan when he is having trouble he is sent to the boarding schools and 8 years old need emptahy and help from parents more than anything else.
The scene in which AK asks chotu to come and have tea with him is part of a song and if we listen to the song then the emphasize is on Kho na jaayeen yeh taarey zameen per the singer keeps repeating this line and within span of 7 to 10 minutes AK had to elaborate it and hence the scene added to increase the impact I don’t think it was manipulative.
To me the Ram Kumar Nikumb get up was too modern and I am yet to come across a school teacher like that. Too peppy.
TZP has to be compared with itself and other Indian cinema. To AKs credit he preferred to direct TZP and produce at a time when he could have done some more commerical and safe subject and not take risk.
If Jehan felt that TZP was over appreciated in reviews then I think this write up is going in too much details and going to the level of 2 min scene and criticizing it. This is not a review I don’t think reviewers go to blow by blow scene and then tell readers what is wrong with it. This is writing -vely about something for the heck of it. At the end of the day we have to evaluate based on the end result and impact.
@I am not nit-picking ‘for the heck of it’, Zaid. I am simply using one scene as an example to illustrate what I feel is a general problem with the film. You are entitled to your opinion about the film.
a lobaour of love may not be a good creation, so as TZP. minus AMIR, the film will no attract audience. work of ART should be emotionally charged and restrained, but TZP is flooded with emotion drawn with a flat brush.
Jahan, you are always good.
It’s actually ironic… Usually critics are accussed of being lazy and glossing over things in reviews, and here I’m being accused to going too much into detail for a review.
@ Ashwin, Post 3
Mera Jahan is written by Amol Gupte himself & Music for that single song is by Shailendra Barve & not by S-E-L
@32: Aditya already pointed that out
If that is the case, why Amol Gupte hasn’t been credited for it? and, also Shailendra Barve? Or, they have been? Someone please enlighten me on that.
Also, being a huge,huge,huge Prasoon fan, I always thought that the song(Mera Jahan) had the Prasoon trademark on it stamped all over( Especially the gorgeous lines, such as:
Sapnon ka buna sweater sa warm
safed baadlon ke paar
and… akela nahin main
khuli aankhon se neend me chalta
girta zada kam sambhalta..
But, it seems I was wrong. So, kudos to Amol Gupte and Shailendra Bharve!!!
Tanul: Amole Gupte and Shailendra Brave were credited for it on the audio CD at least…you’re right that the lyrics do have a Prasson stamp…or should say, the Gulzar stamp?
Nice observation Aditya!(the Gulzar stamp), I have always thought Prasoon to be Gulzar’s worthy successor(I conceede he has a long,long way to go,but he has really done a host of commendable works recently!).
True. There’s an unmistakable Gulzar influence in Prasoon’s work.
I simply loved the title animation in TZP… Fabulous!!
Taare Zameen par has been copied from the book ‘Thank You Mr. Falker’ by Patricia Polacco. This is an autobiographical account of her struggle with dyslexia and how she was helped by her teacher. Read More at
http://tanqeed.com/movies/tzpcopied.cfm
This has to be kept in mind when reviewing and praising the movie. Aamir and Amole Gupta stole this story and have tried to pass it off as something original and groundbreaking.
I am an Aamir Khan fan(not one of da blind ones) and quite accidentally bumped upon dis review. thought to clarify few things……I liked your review- but in parts….just as u liked the film. let me bring out those:-
1. u think boarding wasn’t dat bad a thing. but you weren’t dyslexic. also everything got bit exaggerated since i think TZP was meant to showcase da child’s point of view. giving importance to the child, etc….remember “every child is special”….!!
2. u thought teachers were lookin like comic book characters……i already xplained dis.
3. aamir khan was excessively sentimental at parts……I AGREE. But “Bum Bum bole” was for film promotion,Aamir wrote in his blog. u shouldn’t get distracted….
4. I dnt kn but u seem to be a SRK fan of sorts lik u forcedly compared Mohan(Swades) for a scene or two…..where SRK was just repeating his age old emotions, now under a more practical scenario…..but no doubt I cried then…may be it was da beauty of Rehman…. but you shouldn’t hv compared at all……a film about an affected child, not even handicapped……and a film of a NASA engg returning to his roots ……the latter one could hv been such a succes…surely “Mohan” wasn’t upto it…
All said I would like to mention dat Aamir khan and a few bollywood directors r da sole reason I see hindi movies….Aamir deserves a good round of applause for what he has been doing for hindi cinema…..u people r either judging him judging him by this (baseless) “perfectionist” tag or just because he is a commercial succes…….Also I don’t understand your review understating TZP and declaring urself as cynical….be clear or change da title: Replace “Review” with “Random thoughts”….