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Tamasha: The Story Teller from a Story Teller

…perhaps the best thing that describes Tamasha. Once again Imtiaz Ali lives up to his unique method of portrayal of human characters, emotions and most importantly the spirit which distinguishes us in the animal kingdom. From the 1st scene to the last you can feel a story being sketched or narrated much like the novels of R. K. Narayan, one can see and feel the picture.

A boy lost in his childhood in the dreams spun by a story teller, perhaps wishes to be like him. A girl meets the boy, the girl falls in love for his spirits, so much so, that even after 4 years of their meeting she still misses that soul. Events so happen that she lands in the boy’s town and goes hunting for the boy. She meets him but finds a lost soul, a dead man living. She tells her what she came for and what she is observing. The boy gets disturbed on being reminded about himself. They decide to part but cannot and hold on to themselves in the fight of human spirit.

Performances are good from energetic actors, their chemistry working fine. But it is all about the Director. Tamasha touches the chord set by Udaan and portrays in the manner where Yeh Jawani Hai Deewani failed. From the very first moment to the last you can feel a story being narrated with a modern approach of an opera. The major part of the first half looks much weird yet organized like the stage of a drama, with some upcoming purpose, the story unfolding as it goes on. At no point the characters have grown beyond the art-director’s intent.

The conscious effort of personification of the human spirit (specially through the village story teller and city auto driver) lends a Sufi touch to the film. The craving of human spirit to set itself free beyond social bindings never gets overshadowed by the main characters and their romance. Unrealistic and over simplistic romanticized presentation, thin story line might not encourage happy-go movie viewers, but this is not about Time-Pass, its serious artistic-stuff.

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