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The minor niggles are papered over by the prologue's paciness, after which the irritants become annoying. Characters, especially Surjan and Rosie, begin having long, rambling conversations. The whole wandering-spirits-want-to-talk-to-humans schtick turns squelchy, the artfully built up suspense starts getting porous, and you begin anticipating : I counted four instances where I knew exactly what the characters would say next, as the film quickens to the big reveal (which can be a real surprise if you haven't twigged on), and its wilted post-script.
But when the going is good, 'Talaash' is smooth, not so much because of its principal cast which does what it does : Aamir, Kareena, and Rani are star-competent but are not actor-stretched. Khan's bushy, lower-handle-barred moustache fits in, so does his frown, but his not being able to loosen up makes him feel the same right through; ditto with Rani, though she does get a nice moment or two; Kareena looks gorgeous but doesn't lift her part with a single nuance, or a flicker. In its better bits, 'Talaash' lets us ignore its studiedness--the squalor of the red light area, the determined low-life lingo, the hard-worked cop-station back chat, the high-class homes of the rich and famous-- and gives us a Hindi movie genuinely trying for a whodunit-cum-whydunnit.
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