Tag Archives: Vaibhavi Merchant

Tashan

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Tashan is not really a good film. I am at best indifferent to the cast. And yet I have a fondness for the movie that surprises me. Maybe it’s nostalgia for the total masala style, maybe the excellent work by the costume department, or the spectacular locations. But if you need to see a colourful movie that makes you throw popcorn at the screen and at your friends, this could be quite rewarding.

Vijay Krishna Acharya opens his film with Jimmy (Saif Ali Khan) in a car, underwater, and at gunpoint. How he got there takes up the first half. Most of the fun seeing this was the “surely they’re not…oh yes, they did!” moments and laughing at the shenanigans as the cast justify the next big set piece. There is a heavy use of flashbacks and characters speaking directly to the viewer so it heightens the unrealistic and fantastical mood, as do the songs. Jimmy and Pooja (Kareena Kapoor Khan) meet when Bhaiyyaji (Anil Kapoor) hires Jimmy as his English tutor. As Bhaiyyaji mangles every language he knows, Jimmy and Pooja fall in love. There is the matter of Pooja’s debt to Bhaiyajji, but there are also cases full of cash coming to the office every month. Bachchan Pande (Akshay Kumar), is an unhinged hitman hired by Bhaiyyaji. He is told to get Jimmy and Pooja and all manner of double crosses and shenanigans ensue. Who is what they seem, and who can you trust, especially when large sums of money are at stake? Things get complicated. And then everything blows up.

Saif Ali Khan used to be quite appealing when he was the second lead. As a leading man, he is inexplicable. It’s not that he doesn’t try to act, and it’s not just the porno moustache, it seems that his charisma has the depth of a teaspoon. And what is with the red belt he wears for the whole film? He is almost completely superfluous to the second half, yet he clearly refused to go home and just hung around whining until they promised him a big heroic Dhoom style action scene. Jimmy is not heroic though. He is self-serving most of the time, and a sleaze. He didn’t so much evolve as have a character transplant for a few minutes. I think one of the biggest issues is that the only person Saif seemed to have chemistry with was himself. He had a gleam in his eye when talking to himself or direct to camera, which was lacking in ensemble scenes.

Kareena has total commitment to the trout pout but Pooja is an interesting character who does more than pose. She does seem to have a polarising effect on the wardrobe team, or maybe it’s just their special way of showing love. Pooja is manipulative, and she has a clear goal in mind. Her romantic scenes with Jimmy have no spark to speak of, where her crackling chemistry with Bachchan is evident as is their knockabout friendship. Unlike Jimmy, Pooja has lots of layers to her character to reveal. Her contribution to the final fight scene is quite something, and I may have cheered out loud. Nice to see a lady causing the distress and staying ahead of the game.

I feel I ought to like Akshay Kumar more. But I have flashbacks to Tees Maar Khan (one of only two films I have walked out on) and I retrospectively dislike his films I may once have been more tolerant towards. And there is the established Youtube Poker rule that Akshay and a body of water will result in something hideously disturbing. But his Bachchan Pande is the saving grace of this film in so many ways. He is overwhelmingly self-confident, handy in a fight, and not overly complex intellectually or emotionally. And he has an excellent intro scene. Bachchan is also the one character with real principles, so I found myself caring more about what happened to him. Akshay gets lots of action scenes (by Peter Hein so you know, it’s pretty cool) as well as some discombobulated hick comedy, and it suits him down to the ground. And the shoe department agreed his grounding is important – he gets some excellent and flamboyant footwear.

God, I feel for the team that had to remove Anil Kapoor’s pelt. You know there would have been hedge trimmers first, then electric clippers, then waxing. I reckon we’re talking at least a full day of hard labour. My friend interviewed Anil a few years ago and told me ” One of my opening remarks was: “Anil, you have a lot of hair for your age. Is it hair weaving?” He pulled up his jacket like this and I quickly told him I got the drift…” I’m haunted by that anecdote. Anyway, his performance is fun and so over the top it all kind of makes sense. Unlike his outfits. Bhaiyyaji is determined to make it to the big league of dons and never averse to a bit of killing and mayhem along the way. His mangled Hinglish is hilarious and a bit sad as he worships Jimmy’s ability to speak like George Bush or Prince Charlie. Starting out as an urbane businessman he deteriorates into a snarling (shaved) beast, and Anil Kapoor goes all out.

The Vishal-Sekhar songs are what they need to be for a film, and the picturisations range from WTF to delicately lovely, making the most of their spectacular locations. Nothing can really explain “Dil Dance Maare” though. Kareena is more of a gyrate on the spot kind of dancer, and Saif does uncle stomping with a bit of flailing so I didn’t see much value added by Vaibhavi Merchant there, although the backing dancers earn their money.

Tashan is the kind of film that takes off and doesn’t stop until it stops. It’s high on visual impact and the pace never drags. See it if you need a rattling masala timepass, and don’t mind characters breaking laws of the land, laws of logic, and laws of physics. 3 ½ stars!

Rab Ne Bana Di Jodi

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Rab Ne Bana Di Jodi requires some determined suspension of disbelief. A prematurely middle aged man marries a bright, lovely young girl immediately after she experiences a family tragedy. He loves her on sight, she doesn’t see him at all. He changes himself to become a man she could love. But he does it in an extreme way. He masquerades as another man, utterly different from his everyday self, and starts to woo her. What happens if she recognises him? What if she prefers the ‘other man’? How can he get himself out of this situation? And who will win the big dance competition?

I’m not telling.

I really like this film. It has excellent acting by Shah Rukh Khan and Anushka Sharma, and characters I could empathise with or understand, even when I didn’t agree. I know some people object to the premise that she doesn’t recognise her husband immediately. Personally, I think that if you suspect every man who looks vaguely like your husband or boyfriend is him in disguise, you probably have bigger issues than the film does. Aditya Chopra hits some false notes including a ridiculous sumo wrestling interlude, but it’s really a story about people not gimmicks so I can turn a blind eye. There is ample entertainment in the romance, humour (please note I am not using the C word), dancing and music.

Surinder Sahni works at Punjab Power (motto: Lighting Up Your Life) and lives all alone in his family home, a huge ornate house. He is an unassuming man who has fallen into a rut. Until he falls for Taani. Seeing her disappointment on top of her grief he wants to do something to make her happy, or at least stop her from giving up on happiness. Surinder is considerate as well as shy and doesn’t presume on his new wife. He sleeps in the attic room and calls her Taani-ji, so painfully polite. Suri doesn’t do macho or overbearing – he is atypical for a romantic lead. In his own beige way he tries to show his feelings, hoping his actions will speak for him. He sees her laugh watching movies and tries to understand the appeal of filmi heroes but he is worlds away from that flashy style. This is one of my favourite Shah Rukh performances. He plays Suri as mostly subdued, with a shy romantic streak blooming as he dares to dream.

The expression on his face when he sees the tiffin Taani has prepared for him is priceless. Shah Rukh strikes the right blend of physical comedy and heartstring tugging pathos as Suri.

 

 

Suri’s flamboyant hairdresser friend Bobby (Vinay Pathak in excellent form) helps with a makeover. The idea is Suri will go watch Taani at her new dance class, and then surprise her with the new look. But he can’t stop himself from trying to get closer to her. And so Raj is born; vulgar, extrovert, inappropriate Raj Kapoor who can say and do things that Suri won’t.

Shah Rukh doesn’t play Raj as cool – he is a nerd’s idea of a cool dude and always that bit off key. I’m not surprised Taani didn’t recognise him. He has terrible fashion sense and constantly over-accessorises (thanks to Aki Narula). There are some delightful moments of Raj getting cocky, only to have Suri’s panic leak through when he doesn’t know what to do next. Raj becomes Taani’s dance partner for a competition – another touch of fate or divine intervention. The relationship has a rocky start but Taani can’t help eventually responding to Raj’s simple warmth.

He helps her reconnect with life in a way that Suri’s patient hands-off approach doesn’t. Shah Rukh portrays two quite distinct characters, and I could see Raj growing and becoming more of a second skin over time.

Raj is a drug that Suri cannot kick. When Bobby challenges him, Suri admits he can’t stop. The deception escalates and as Raj he taunts himself over his failure. This dark tone of self awareness and self delusion made Suri’s deception seem more real.

He created a mask and resented being trapped behind it. As Suri he wants Taani to see the real Suri, and fall in love with him as he is. As Raj, he is spontaneous and affectionate. But what happens to Suri if Raj succeeds in winning Taani’s love? And if Suri kills off Raj, what will that mean to Taani?

Taani is the apple of her father’s eye, and about to marry the man she loves. A few tragic minutes later she is married to Suri and relocated to Amritsar. At that time she may not have cared much for her future as she was traumatised and grieving. Anushka has a natural and happy quality, but she can turn that off in an instant, and she portrayed the conflicting emotions and loyalties very well.  Taani rarely looks at her husband, and certainly doesn’t see him so I could believe she didn’t recognise him in disguise. The more Suri tries to engage her, the more she blocks him out. She’s not a crying whinging wet dishrag though – Taani is a spirited woman and even does a Dhoom style motorbike stunt. She really comes to life when she forgets herself in things that had been her pleasures in her old life, especially dancing.

She resents feeling indebted to Suri even as she appreciates his generosity, but is making the best of things. Taani doesn’t have friends in Amritsar apart from Raj, who refuses to not be allowed to be her friend, so he is her only confidant. She comes to a crisis point, and I think it was as much about wanting to actively live again as her attraction to Raj.

Taani finally allows herself to love and to reconnect with life. While Anushka is very pretty she seems real, not a plastic beauty, and I found her convincing and appealing. I also had severe wardrobe envy when I saw Taani’s clothes, especially her lovely embroidered dupattas.

The theme of a couple brought together by God is always present. The presence of religious observance and ritual in their lives helps give that more resonance as it seems like a genuine belief not just a dramatic conceit. The gold of the temple at Amritsar is picked out in  Taani’s dress, the yellow tiffin, Suri’s car, the new bedsheets and flowers Taani leaves in his room. For him, Taani is divine love and she is lighting up his life.  The corny picturisation of Tujh Mein Rab Dikhta Hai can’t detract from the message of seeing an aspect of divinity in the one you love, or who loves you.

I really like that it shows Suri seeing himself as Suri, but Taani sees only Raj. The tension in the bizarre love triangle is well maintained even in lighter moments. I think that the inherent acknowledgement that some characters were not always behaving well made it more palatable and less WTF, so the resolution is oddly satisfying. My eye-rolling muscles barely got warmed up, I just went with it and enjoyed the unravelling.

Whether it is the bustle of Amritsar, Suri’s majestic old house, Taani’s clothes, the framing or the use of colour, Ravi K Chandran makes it look stunning and it’s a total pleasure to watch. This traditional sounding song is over the opening titles but not on the soundtrack, and it is a beautiful start to the film.

The Salim-Sulaiman soundtrack is mostly excellent and Jaideep Sahni’s lyrics seem to match the story very well. Haule Haule is beautiful, and the choreography is perfect uncle-in-love style. Retro tributes are now old hat, but the clever lyrics made up of film songs and titles and the vocal by Sonu Nigam lift Phir Milenge Chalte Chalte. Shah Rukh really gets the style of the Hindi film greats he mimics, particularly in the Rishi Kapoor segment. Lara Dutta is miscast as Helen, but Rani as Neetu more than makes up for that. I much prefer the songs Vaibhavi Merchant choreographed. Shiamak’s style is too reminiscent of 80s TV variety shows and I’ve seen enough of that to last me. Dance Pe Chance and the dance competition numbers are not memorable, although I appreciated Anushka and Shah Rukh maintaining their characters in the dances so they worked as drama rather than as songs. But so much colour and movement can’t be a bad thing.

See this for an unusual romance, good songs, beautiful visual design and of course the lovely performances by Shah Rukh and Anushka. Just remember to suspend that disbelief! 4 stars!

Heather says: I am quite ambivalent about this film. On one hand I do really like Shahrukh’s ebullient Raj and most of the time I like his characterisation of the more reserved and introverted Suri. But on the other hand there is much of the story that I don’t like, and I’m not very impressed with the character of Taani despite Anushka Sharma’s best efforts.  Taani seems a very superficial character and the few personality traits she is allowed to display switch on and off depending on how much comedy Aditya Chopra wants to include in the scene. When she is allowed to be cheery and feisty I quite like her, but most of the time she is too one dimensional and is only there as a reason for Shahrukh to play dress-up.

As far as the story goes, I don’t like the way that Taani is pressured into marriage with Suri at such a difficult time in her life. However even worse is the direction the story moves in later on, when Suri decides to make his wife choose between Raj and himself. It’s manipulative, very unfair and just plain wrong. I don’t see how such a plan can possibly demonstrate true love and I think Taani would be much better to leave Suri and Raj altogether!

What I do like though is the character of Bobby Khosla and I think that Vinay Pathak did a great job with his role as Suri’s friend. There are a few scenes near the beginning where the character of Suri is initially developed that are also quite sweet and hold a lot of promise but unfortunately I don’t think the film ever delivers on these. While both Shahrukh and Anushka bring everything they can to their roles, ultimately it’s the story that lets it all down in the end. The songs are great and I love Phir Milenge Chalte Chalte, but for the rest, it’s not a film I particularly enjoy. I think it’s worth watching for Shahrukh, who does have some excellent comedy moments and he at least seems to be enjoying himself. The rest is disappointing. 3 stars.