First time director Aamir Khan’s maiden venture, Taare Zameen Par is a classic case of how a director’s Midas touch can transform an oft repeated and stereotypically predictable story into a nugget of gold.
As far as the story of the film is concerned, in terms of the narrative and writing style, right from the placements and the stances of the various characters, to the finale of the film in the art exhibition there is nothing that you can’t guess before it happens; then be it the impish pranks of the main protagonist and the traumas of the dyslexic kid, or his father’s expectations from him, or his elder brother who is an epitome of virtue to the extent of being destiny’s prodigy, or his professors, who seem to have done their own schooling under all the legendary villains of Hindi cinema, or his weeping mother, who is an embodiment of the traditional Indian housewife, whose life revolves around the household chores, but is helpless and hapless to the point of being hopeless, when her husband is in charge of the situation, or be it the bizarre looking messiah played by Aamir himself, who breathes fresh air into the kid’s suffocated life, or the final breakdown of the kid’s stoned father who doesn’t know how to thank the Guru, who is the contemporary counterpart of the legends in the Indian mythology.
But what one can’t discount over here, is the amazing style of presentation, which lets the predictable story unfold on its own terms. This is precisely where the film gets atypical, and thereby, irrespective of the stereotypical plot, it rises far above it. The film does have shades several films, and as much as Aamir may dislike it, even Black. But the style of presentation has an incredible amount of freshness; at least as far as Hindi cinema is concerned. Right at the outset, when the kid picks out two tiny fishes from the mucky water, to the animated calculation of 3 into 9, to the teacher reading the hidden messages in the kid’s art and pleading for his benefit, to the finale where the kid goes and hugs the teacher, as a token of gratification, respect and love the film belongs to the director and he has done a fab job with it. Actor Darsheel Safary walks through his role with aplomb, and even Aamir the star is dwarfed by his histrionics. He is just perfect for the role, and he does full justice to the writer’s efforts as far as the enactment of the sketched character is concerned. The rest of the artistes also fit in their roles and do a good job.
The actor Aamir Khan is sort of veiled under the star Aamir Khan, and in several places this becomes very apparent. From his demeanor to his wardrobe, to the star-like entry which he takes, to his subject as a teacher at school, and his role further on, he gives the film that fairy tale touch while he plays Santa to the young child. However, as a director, he has handled several scenes so well, then be it the outdoor art class where Ishaan makes a boat and thereafter shies away when he is subjected to glory, or the scene when the teacher tells the father about how concerned he is and the father’s walkout when he can’t face the son, and so many more to mention. The film belongs to him, and this is in fact one of those films which make you realise the director’s power. In his task, he is ably supported by cinematographer Setu; music guys Shankar Ehsaan Loy; writer Amol Gupte; and lyricist Prasoon Joshi, along with Master Darsheel Safary. These guys are the pillars of the film and each one has done a good job, though in my opinion it is the writer who could have done a tad better job, by maybe including certain scenes with the mother-child, or showing her in a stronger light. But nonetheless, the film is special for the thought that it triggers, which should be looked at as the focal point while one is viewing the film.
I am someone who refuses to enforce logic and spoil the film. But some of the scenes in this film could have still been done in a better way. Considering it is a Hindi film, we can discount the fact that the kid ran away from the school and no one saw him, he attended one period and then submitted a sick leave for his absence for the day, walked out of the hostel at midnight etc. But what I couldn’t take was the way all the professors behaved. Sensitivity was made the hallmark of only one teacher, which is played by Aamir. Unfortunately, not one teacher felt like showing some amount of concern, forget compassion and figure out the child’s disease, or even treat him like a normal child. And if this is how a child who comes through the reference of the school’s trustee is treated, God alone save the fate of the children across the schools in the country. The film makes a bold statement on the Indian education system over here, and builds another stereotype. Somewhere the script looks a bit doctored in this context, to perhaps do justice to Aamir the star, also, not to forget the random change in the behaviour of all the teachers at the art competition at the end, which also in a way is a tribute to his star power.
But harping on those points in a film like this wouldn’t be right, because the cause and the effect of the film are far above such discussions. Aamir should be lauded for his efforts and execution, and true Aamir fans should also either ignore his comments on Black or overlook the similarities with it.
As far as the story of the film is concerned, in terms of the narrative and writing style, right from the placements and the stances of the various characters, to the finale of the film in the art exhibition there is nothing that you can’t guess before it happens; then be it the impish pranks of the main protagonist and the traumas of the dyslexic kid, or his father’s expectations from him, or his elder brother who is an epitome of virtue to the extent of being destiny’s prodigy, or his professors, who seem to have done their own schooling under all the legendary villains of Hindi cinema, or his weeping mother, who is an embodiment of the traditional Indian housewife, whose life revolves around the household chores, but is helpless and hapless to the point of being hopeless, when her husband is in charge of the situation, or be it the bizarre looking messiah played by Aamir himself, who breathes fresh air into the kid’s suffocated life, or the final breakdown of the kid’s stoned father who doesn’t know how to thank the Guru, who is the contemporary counterpart of the legends in the Indian mythology.
But what one can’t discount over here, is the amazing style of presentation, which lets the predictable story unfold on its own terms. This is precisely where the film gets atypical, and thereby, irrespective of the stereotypical plot, it rises far above it. The film does have shades several films, and as much as Aamir may dislike it, even Black. But the style of presentation has an incredible amount of freshness; at least as far as Hindi cinema is concerned. Right at the outset, when the kid picks out two tiny fishes from the mucky water, to the animated calculation of 3 into 9, to the teacher reading the hidden messages in the kid’s art and pleading for his benefit, to the finale where the kid goes and hugs the teacher, as a token of gratification, respect and love the film belongs to the director and he has done a fab job with it. Actor Darsheel Safary walks through his role with aplomb, and even Aamir the star is dwarfed by his histrionics. He is just perfect for the role, and he does full justice to the writer’s efforts as far as the enactment of the sketched character is concerned. The rest of the artistes also fit in their roles and do a good job.
The actor Aamir Khan is sort of veiled under the star Aamir Khan, and in several places this becomes very apparent. From his demeanor to his wardrobe, to the star-like entry which he takes, to his subject as a teacher at school, and his role further on, he gives the film that fairy tale touch while he plays Santa to the young child. However, as a director, he has handled several scenes so well, then be it the outdoor art class where Ishaan makes a boat and thereafter shies away when he is subjected to glory, or the scene when the teacher tells the father about how concerned he is and the father’s walkout when he can’t face the son, and so many more to mention. The film belongs to him, and this is in fact one of those films which make you realise the director’s power. In his task, he is ably supported by cinematographer Setu; music guys Shankar Ehsaan Loy; writer Amol Gupte; and lyricist Prasoon Joshi, along with Master Darsheel Safary. These guys are the pillars of the film and each one has done a good job, though in my opinion it is the writer who could have done a tad better job, by maybe including certain scenes with the mother-child, or showing her in a stronger light. But nonetheless, the film is special for the thought that it triggers, which should be looked at as the focal point while one is viewing the film.
I am someone who refuses to enforce logic and spoil the film. But some of the scenes in this film could have still been done in a better way. Considering it is a Hindi film, we can discount the fact that the kid ran away from the school and no one saw him, he attended one period and then submitted a sick leave for his absence for the day, walked out of the hostel at midnight etc. But what I couldn’t take was the way all the professors behaved. Sensitivity was made the hallmark of only one teacher, which is played by Aamir. Unfortunately, not one teacher felt like showing some amount of concern, forget compassion and figure out the child’s disease, or even treat him like a normal child. And if this is how a child who comes through the reference of the school’s trustee is treated, God alone save the fate of the children across the schools in the country. The film makes a bold statement on the Indian education system over here, and builds another stereotype. Somewhere the script looks a bit doctored in this context, to perhaps do justice to Aamir the star, also, not to forget the random change in the behaviour of all the teachers at the art competition at the end, which also in a way is a tribute to his star power.
But harping on those points in a film like this wouldn’t be right, because the cause and the effect of the film are far above such discussions. Aamir should be lauded for his efforts and execution, and true Aamir fans should also either ignore his comments on Black or overlook the similarities with it.
1 comment:
Sahi hai bhidoo... keep it coming!
Ash
Post a Comment