Chiragdeep International's TALAASH, directed by
Suneel Darshan, is a typical masala flick
that relies too heavily on the tried and tested
The film begins with Ashish Vidyarthi, an honest
cop, releasing Suresh Oberoi from the prison.
Oberoi works for a gang run by Kabir Bedi and
his accomplices – Raj Babbar, Dalip Tahil and
When Oberoi realises that while he was held
captive, the gang didn't look after his wife (Raakhee)
and two kids, as promised, he swears revenge.
But the gang kills him and abducts his young
Unable to bear the shock, Raakhee ends up in a
mental asylum, while the son, Akshay Kumar,
decides to go on a hunt for his sister and
settle scores with the gang. How he reaches the
kingpin and rescues his sister from his
clutches, forms the remainder of the story.
TALAASH follows the oft-repeated track all
through, from start to finish. And that's where
the fault lies. Although the basic storyline is
interesting, the way the drama unfolds gives you
a feeling of 'been there, done that.'
Flashes of BAAZIGAR and MERI JUNG cross your
mind as the story begins. The initial reels are
quite captivating, but as soon as Kareena's
character is introduced, the story deviates to
the romantic track, which is quite lacklustre.
Though the concept of shooting sequences inside
Palace of Wheels is fresh, the sequence of
events is not. Despite funny situations like the
interaction between fellow passengers on the
train or the sequence featuring the ladoos or
for that matter, when two ruffians try to act
fresh with Kareena, the graph of the film
somehow keeps falling.
The interval point does elevate the expectations
of an engrossing second half, but the
post-interval portions belie the expectations.
The anxiety to watch the climax – the identity
of the sister and how'd Akshay rescue her
eventually – keeps the viewer's interest alive.
Even the Pooja Batra track is interesting. But
barring these sequences, the second half doesn't
boast of many riveting moments.
The climax suffers on one major count. All
through the film, the viewer is eager to know
the sister's identity, but when the suspense
unfolds towards the climax, you feel completely
The requirement of the character was either a
star or a widely known actress, but the presence
of a rank newcomer dilutes the impact to a large
extent. Also, the climax is long drawn, although
the stunts are well executed.
Directorially, Suneel Darshan is not in form
this time, mainly because the script does not
offer him scope to rise beyond a point. Neither
does the mother-son track strike a chord, nor
does the romance between the lead pair excite
the viewer. Although Darshan has executed a few
sequences well, a routine script and the
placement of songs dilute the overall effort.
Sanjeev-Darshan's music is of a mixed variety.
The climax number – 'Main Masti Mein Mastani
Hoon' – is the best song of the enterprise, in
terms of rhythm and also placement. 'Tune Kaha'
is a tuneful song, but its placement could've
been better thought of.
Cinematography is alright. Dialogues are well
worded and punch-packed. The stunts are well
crafted. Production values are just right.
Akshay Kumar is plain mediocre. The role hardly
offers him scope to try out anything different.
Kareena Kapoor is her usual self. Pooja Batra
leaves a mark in a small role. Kabir Bedi and
Raj Babbar are adequate. Raakhee, Ashish
Vidyarthi and Arbaaz Ali Khan are okay.
On the whole, TALAASH relies too heavily on an
oft-repeated theme, which will tell on its
business eventually. The film may find some
flavour in the interiors.