The Triumph of Human Spirit. Review on Tara Rum Pum

Sidharth(Salaam Namaste) Anand moves a step ahead in his craft. Tara Rum Pum,

while retaining all the gloss and glamour associated with Yash Raj

Films, is essentially a human story, narrated in a gracious and genuine

way. An absorbing film, Tara Rum Pum keeps the flame of human spirit burning with the warm oil of compassion, concern and candor.

The story revolves around a car race driver(Saif Ali Khan), who

meets a severe accident on the tracks. Alongwith the car, his

confidence crashes and amongst the debris are his ruined career and the

acrid smoke of ruthless cash crunch. His family rallies around him, but

he has several lessons yet to learn, and they form the crux of the

second half. Of course, keeping in mind Bollywood sensibilities, the

story starts right from the beginning where he meets the disciplined

and dedicated piano student(Rani Mukerji looking plump yet ravishing

in mini-skirts) in a series of - what else? - accidents.

The script is uncluttered, and progresses neatly, adding details

here and there that make up the luxurious whole. It imparts a lesson in

saving for the rainy day, without being grossly didactic or preachy.

The dialogues are crisp. The second half is less humorous, but not

heavy; though personally I feel this takes away the punch; and the

piercing pain doesn’t cut pitilessly into the heart. Perhaps, a better

idea would have been to go whole out in the melodrama, peeling off the

gloss and allowing the scenario to be as barren and grim as the walls

of the house the family is force to shift in. But Anand prefers to go

by the neo-modern grammar, keeping in check any excesses, yet pointing

out pretty clearly that the family is in big trouble. Some portions do

manage to moisten the eyes, though - for example, Rani playing at

boring birthday parties and then packing off the foodstuff for her kids.

A big triumph are the car racing

scenes(and they are plentiful), which hold their own individuality

without looking duplicated or boring. The last one stirs your

adrelanin.

Binod Pradhan scores another home-run this year with his camera work(after the painstakingly beautiful Eklavya).

The car race scenes are deftly shot, without confusing the viewer. New

York is captured in a bright colorful mosaic. The film is well edited,

though judging by the audience reaction in the theater, the interval

could have been upped a bit, but that s being overtly finicky. I am

deliberately not venturing into the Reader’s Don’t Digest kind of

bloopers - I am sure they will be eventually listed out in a magazine

that wears the serious-looking dress over its patchy petticoat.

Vishal-Shekhar’s absolutely melodious musical score is the most

surprising aspect. Frankly, my expectations were very low. But the

music is shimmering and sensational. While Shreya Ghoshal’s stupendous

solo Ho agar koii gham toh(Ta ra ra rum tararum pum) envelops you in its inspirational and affectionate hug, Vishal Dadlani’s heart-wrenching part-Sufi-ish, part-Junoon-ish Ek banjaara iktaare pe(Saaiyaan) squeezes a tear from the eyes. Both the songs are winners, and have beautiful interludes. Nachle ve

taps your feet to dancing and the title song delights. Javed Akhtar’s

lyrics are great and Anand uses the music judiciously. Salim-Suleiman’s

background score gels with the film’s theme.

Both Rani Mukerji and Saif Ali Khan give honest performances. But

Javed Jaafri convincingly steals the show; no extraneous antics; simple

clean and cut acting

that hits the bull’s eye! The supporting cast supports adequately(and

no, there aren’t any surprise appearance, and none by Abhishek

Bachchan!). The kids endear.(Master Ali last stole our hearts in Fanaa, and here he effortlessly repeats the feat).

Tara Rum Pum retrieves Yash Raj Films(and producer

and mastermind Aditya Chopra’s) lost reputation as sincere filmmakers

providing good family entertainment. Of late, their films had been all

gloss and no soul, with one-point mission of raking in the moolah and

satisfying the NRI urge of connecting with India without actually

showing the country. True, the film is set in NY, and they still eye

that sector avidly; true, there is all the glamor(designer house,

designer profession, designer dresses, et al); but then the film is

basically about human triumph, so all the strappings hardly matters.

Plus, the locale or the lustre don’t overshadow the content; it’s an

achievement where shine and story co-exist harmoniously! And yes, watch

it with your family without being embarrassed one bit no unnecessary

kisses or any faaltu skin-show!