Movie Review of Aamir Khan’s Taare Zameen Par

chillibreeze writer — Sudhir Raikar

He made his film debut as a child artiste in the 1973 potboiler Yadoon Ki Baraat. Almost 35 years later, Aamir Khan - arguably the film industry’s best known non-conformist makes another debut – as Director - of Taare Zameen Par (TZP) – a film revolving around the trials and tribulations of a dyslexic child.

That the child is a sweet commonality in both introductions, brings prophetic delight, however incidental it may be. From the naïve young lad facing the camera to the sensitive director behind the camera, Aaamir has come a long way….. Accidental child artiste, promising talent, celebrated star, superlative actor, sensitive producer and now an experiential director… the milestones are truly breath-taking. TZP is another inimitable Aamir Khan statement – both in substance and style.

At the outset, kudos to him for the courage to present an idea in cinemascope that intrinsically ran the risk of being labeled a documentary. The first-half of the film indeed resembles one, conveying the dyslexic world of Ishaan Awasthi - the nine-year old protagonist - more through musical digressions and animated simulations than any conventional dialogue. The cinematic treatment may well have been found lacking in finesse at times (frames where the bang of symbolic collages echo the din of repetition) but the offbeat attempt in itself is a paradigm shift in commercial Hindi cinema.

The protagonist’s unwary preoccupations are nothing short of pure cinematic delight – unabashed fishing in a filthy trench, starry-eyed introspection of the colorful life outside the classroom window, exploratory walks through the busy streets of Mumbai’ central business district…… all moving images of juvenile wonderment in their natural splendor …..reminiscent of Gulzar’s memorable film Kitaab. Darsheel Safary makes his dream debut, playing Ishaan Awasthi with aplomb and character. If acting happens to be his chosen field, he should find a fulfilling career ahead.

The second-half of the film sets Aamir in motion. Reel by reel, he puts Ishaan’s world in perspective, as much for his parents as for the audience. And one can’t but marvel at how much he has grown as an actor – whether it’s the loaded gospel unveiling the mental agony of dyslexia, his gentle reprimands to Ishaan’s helpless parents and insensitive teachers, his acts of gay abandon striking instant resonance with kids or even the seemingly trivial gestures (watch him push a mug away from the desk’s edge as he accommodates Ishaan’s father in his cluttered workspace) that only a studied actor would carry to fruition……he demonstrates a natural flair that the late Balraj Sahani would have happily approved of.

The supportive cast has lived up to the cause in equal measure. The mother, played by Tisca Chopra, blooms as the film progresses. The mute agony of a caring mother comes out convincingly, albeit her nags appear a tad more pronounced during the opening scenes. Two kids – Rajan Damodaran (played by Tanay Cheda) and Ishaan’s brother Yohaan (played by Sachet Engineer) – are impressive in their facility for expression.

The surprise pack, however, is the father (played by Vipin Sharma) who portrays the insensitive-turned-apologetic father with surprising authority. His presence smells of mediocrity at the start but he leaves his mark in a couple of scenes towards the end when he breaks down in an emotional outburst, full of remorse. Veteran Lalitha Lajmi is graceful in her guest appearance.

The perfectionist that he is, Khan could have avoided a temptation or two – reducing school teachers to loud caricatures – a legendary pastime of Hindi films throughout the years. The humour, we thought, could have come about more subtly in an Aaamir Khan production. Also, some of the characters are caught floating around purposeless – the lady school principal leading the pack with her plastic histrionics.

The end is enchanting in its predictability. Here, Khan resorts to the time-tested conventional method - that of highlighting triumph to prove a point. The climax is packed with the usual ingredients of comic relief. Nevertheless, the landscape is breathtaking in its grandeur.

Three cheers for Aamir and his entire creative team – script-writer and editor Amole Gupte, lyricist Prasoon Joshi, music directors Shankar-Ehsaan-Loy, choreographer Shaimak Davar and painter Samir Mondal included – for the wonderful X’mas gift. A film that transcends its thematic boundaries to flourish in its universal appeal. A must-watch!

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—About our writer:

Sudhir Raikar, 36, is a cost accountant by qualification but a lost accountant for all pratical purposes. With nothing else to lose but his temper, he has everything to gain from life. Currently tresspassing in the world of information technology for his living, he is a resident of
Mumbai with his family of father, wife & son.

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