Taare Zameen Par
-a true motion picture
Sanjit Singh Dang, PhD.
Dec25, 2007, Milpitas, California.
Taare Zameen Par, Aamir Khan's first directorial effort, is made with a lot of conviction and sensitivity. It has a unique script with a social message, executed differently compared to contemporary Hindi cinema. The opening shot of a mesmerized Ishaan, the protagonist, collecting tiny aquatic creatures from the school gutter into his water bottle sprang a smile on my face. The scene was very nicely done, indicating right-away that Aamir understands the fine nuances of his craft. This sequence also established the free-spirited lifestyle of Ishaan. The next hour delves deeper into his day-dreaming mind, each scene solidifying that Ishaan just wants to be mentally free from the shackles of our systems.
The movie identifies with us, touching our emotional chords. We can relate to Ishaan sitting next to the driver in the bus, or staring out of the window during class, or being compared to his studious elder brother, or being rebuked for low marks by teachers and parents. In parallel, the film is extremely sensitive. I had tears in my eyes whenever Ishaan or his mother got sentimental: like the departing moment at boarding school, the following 'Maa' song, or when Ishaan runs into Aamir's arms while receiving the best painting prize. Prasoon Joshi’s soulful lyrics and music by Shankar-Ehsaan-Loy (that appeals more with the visuals) jell nicely with characters’ emotions. Aamir also uses colors effectively to paint the rainbow in Ishaan’s mind.
But the film could have been tighter by editing out some of the self-governing shots of Darsheel. Although they are a treat to watch, they do slow down the narrative pace. Towards the later part of the first half, I started feeling itchy about when Aamir will come and discover the dyslexia in Ishaan. Also, the song ‘Bheja Kum' could have been removed. The other song 'Jame Raho' though is likeable after you watch the picturization, aptly showing the busy housewife and a lazying Ishaan.
Darsheel Safari as Ishaan does not act, I really can't imagine he was acting. He talks with his eyes. His expressions are so natural that I felt he was just playing his own self. How can you act that expression on the terrace after the boys’ fight? Or the face when he pleads to his parents not to send him to boarding school. Or how he feels lonely in hostel room at night. Darsheel has the potential to hone into a true actor of the caliber of Naseerudin Shah and Raghubir Yadav. So, do we have guts to give the 2007 Best Actor award to Darsheel? After all, it should be an award for performance, not limited by stardom or age, right?
Tisca Chopra is equally brilliant as the mother, She has a beautiful face and can emote naturally. Infact, I think she is better than Aamir in making us cry. Vipin Sharma as Ishaan's father was good only in parts. At times, he was overacting and had many unnecessary pauses in his dialogue delivery.
Overall, Aamir has done a neat and awesome job as a director. Today’s directors play on audience's cheesy interest and human eye's lack of quick perception by showing semi-clad heroines and split-second shots. But Aamir decides to create his own cinema by depicting Ishaan and his mother's heartfelt countenances with immense patience. It's almost as if Setu’s camera is in sheer love with their inner pain. Besides portraying a child's mind intricately, TZP also moves Indian cinema one notch higher by virtue of a strong script by Amole Gupte, an honest presentation, and poignant performances, along-with a message on children’s upbringing. Maybe now India will breed the next CV Raman or have a chance at Olympics. What a piece of art! I don't think this is a film, it should be classified as visual art in motion or a true motion picture. GO, GO WATCH IT!
Please add your comments here (both positive and negative).
Back to www.taarezameepar.com or sanjitdang.com.
Visit my other sites: aamir-khan.com, and fanaahthefilm.com.