TAMASHA MOVIE REVIEW

When Ranbir Kapoor and Deepika Padukone get back on screen, you tend to expect another ‘Yeh Jawaani Hai Deewani’. With AR Rahman’s music becoming a runaway hit and with the best star-cast possible, read on to find out whether the expectation makes or breaks ‘Tamasha’.

 

‘Tamasha’ is the story of Ved (Ranbir Kapoor) who is stuck between fantasy and reality. The fact that we bury our true emotions deep inside our hearts and carry a smile as if nothing really matters is the actual point that ‘Tamasha’ wishes to convey. With some very strong technical support and an enviable cast, one would expect a gripping screenplay.

 

For a character with this many shades, Ranbir fits perfectly. Be it the Aam Aadmi office-goer or the storyteller who wants to get away from the monotonous lifestyle, Ranbir shines through the movie, especially in the scene where he has a conversation with his boss. On the other hand, Deepika is glowing and effortless, she charms in the introduction scene itself. The much talked about chemistry is stunning not just in the romantic scenes but also in the emotional ones. The classic ‘Let’s talk Hindi in a foreign land and make fun’ and Ranbir and Deepika trying to tell a story to Frenchmen were clearly fun to watch. The chota-Ranbir also needs a mention here as he is the one who makes the drama believable.   

 

The first half charms with the exotic Corsica (France), while the second half is extremely predictable. The draggy and boring screenplay is clearly the thumbs down for the movie. The movie deals with an array of emotions that AR Rahman never fails to capture in his mellifluous music or should I say musical? Imtiaz Ali seems to have given a stage play effect to the movie, which works only on the music front. The album is a clear hit with ‘Matargashti’ topping the charts and ‘Wat Wat Wat’ also creating whistles among the audience. The choreography for ‘Matargashti’, which is set in France is dealt with very aptly. 

 

Be it Corsica or Shimla, cinematographer Ravi Varman’s unpredictable camera angles like the track shots of emotional conversations and a lot of low angles are a breather. The beautiful back-lighting used for Deepika in most of her scenes gives a beautiful twist to the overall look of the film. For such an emotional drama, the editing by Aarti Bajaj could have been crisp. The already draggy screenplay slows down the pace of the movie wanting you to only depend on AR Rahman’s re-recording. 

 

Though Imtiaz Ali extracts the best out of Ranbir and Deepika, it feels as though he wasted the talented performers because of the lack of an engaging screenplay.