“Light ! Sound ! Action !”—This is not what a good film should be all about. Box office reports are out and films are esteemed. Unless conventions are broken ( contextually and technically), modern films lack in modernity. “ Tavar” has, of course, broken grounds in the film-making art. Each snippet in the newspaper offers filmic elements, only the enthusiastic makers are required to garner the events. The Arushi and his live-partner murder case raised vortex years ago. The verdict has been pronounced and the convicts have been sentenced. This the case was open with investigations and shut as conclusion. But the doubt has been too deep-seated to be obliterated---“was it, de facto, an open-and-shut case ? Meghna Gulzar and Vishal Bharadwaj taxed their brains with a view to intensifying this doubt, not like arriving at any conclusive finality. The essential and underlining thing of the movie is the novelty of the art of MAKING. Therefore, this part needs to be highlighted first and foremost.
Different accounts of murders are formally distinct by comparing shot length data and using multiple correspondence analyzing to create POINT-OF VIEW. There are reverse angle cuts and axial cuts. The results show that the different accounts of the murders in “ Talvar” differ not only in their contents but also in the way they are narrated. The editing pace varies so that although the action of the film is repeated, the presentation of the events to the viewers is different each time. The narrative perspectives are sure to confuse you in making out the authenticity between either active or passive narrators.
Directorially, it is Meghna’s magnum opus still date. Musicality has been kept at bay in order to discipline the contextual temperament. Massive home-work has been done to rock the mind-frame of the audience. Society, status, judiciary—that make the system has not been spared.
No member of the audience chances to point out the drawbacks of acting. All the characters( some familiar some unfamiliar) have got into the respective roles that virtually get into our skin. Konkona Sen Sharma and Neeraj Kabi as the parents of the victim are superb. Irfan has not acted he has behaved. The way our on-coming generation will act in future, Irfan Khan is now a model to them. The way he synchronizes the storm of his conjugal life in the course of his investigation is not meant for the surface-watchers.
As every story has an end “ Talvar” is no exception. We can hardly come out with comfortable disposition, because discomfort starts when the film ends and we come out. It means we have been wounded by the talvar and realize we are indirectly we have been documented, though the film has the certificate FEATURE.
In 1950 Akira Kuroswa made “ Roshomon”. Those who have not yet seen this milestone movie are advised to watch it, provided the watchers have hunger for good films. “ Talvar” not of course a movie of that elevation, its presentation is very much “ roshomonism” that no other Indian movie for over 60 decades can take the pride of.