1. You tend to get the feeling that you are being driven by an ideology and it is increasingly evident in the director’s burgeoning repertoire. Imitiaz does not necessarily go with a show-don’t-tell approach in his movies. High on style (which does seem borrowed and utterly non-creative), I wouldn’t completely throw away the movie although it does not exhibit much of an effort on the part of the director. I got the feeling that he is trying to cash in on the popularity he has attained of late.
2. Parts that I liked included the scenes where Ved is struggling to cope with his life post the rejection from Tara. Hearing about yourself from someone you love is always tied with the paradox of emotional headache. You expect to hear the truth, but when he truth is something you know already and yet is trying to move away from it, it makes for a combustible mixture. I felt that the subsequent reverse-rejection sequences are a result of this. This thin line between ego and hurt is difficult to comprehend, especially for someone who lives inside his head so much.
3. I felt the Corsica scenes were overtly stylized and made idyllic. It could have certainly been more dramatized and naturally portrayed. Also, the Ved 2.0 in India is an exaggeration that did not go down all that well for me. But Ali’s oeuvre is filled with such over-personifications (Geet’s breakdown in JWM, Rockstar’s dichotomy of fame) and may serve as a bridge to the overarching pop-philosophy he is intent on peddling. Nothing wrong with it, I personally love some deeper, albeit simplified levels of self-consciousness in movies. You dont see much of that in Bollywood movies where macro-issues and a larger-than-life personalities find a more suitable home.
4. The recourse to stories, and the freshness of role-playing is probably a heightened selling of his own calling. Much in the same vein as the Haroun and Luka string of novels invoke ‘kahani’. Probably one speaketh best when tying it to ones own pursuits but it necessarily invokes disbelief. Being ‘special’ is a common pursuit for all of humanity. Being able to pursue all paths that lead to them isn’t so much common. Forging paths are ok, but they are really just one of the many paths that fork out in a lifetime. Choosing one over another does not necessarily make one a robot. Neither does the idea that a storyteller need be a master performer, a renowned choreographer or an eccentric artsy pathogen.
5. That said, I could find some of the scenes particularly masterful even if didactic. The breakdown in front of Heer’s apartment, the self-consumed mirror-conversations and the constant Stream-of-consciousness was refreshing. You don’t see much of that in mainstream movies. This bias towards the inner fold is a trend I would not turn my eyes away from. Moving away from viewing man through the society he lives in, and delving deeper into his biases and consciousness is a welcome sight to my sore eyes and in that aspect alone I would give Tamasha a fair B+!