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The story revolves around the mysterious murder cases of a 14-year girl, Shruti and the domestic help, Khempal who worked at her place. The film is based on the real life Noida Double Murder Case of 2008, where the parents were said to be the prime suspects of the murders. The film showcases three perspectives to the case which emerge as the investigation moves forward.
Second movie to be released in the same year based on the double homicide true story of Aarushi Talwar and Hemraj Banjade. The first one was Rahasya starring Kay Kay Menon in January 2015. Talvar was released in October 2015 See more »
While the story begins in 2008, soon after the murder, a Fluidic Verna car is seen in a scene. This car was launched in 2011.
Similarly, in one scene, a Honda City is seen driving behind the police jeep. The latest version of Honda City was launched in 2014. See more »
All those who compared Talvar with Rashomon clearly don't have a clue what Akira Kurosawa tries to depict in his groundbreaking masterpiece. It must be understood that Kurosawa never makes an attempt to lead the viewer. He just shows us the same event from four different point of views. And he doesn't feed us with lies (Talvar, on the contrary, comes across as a propaganda film), only the different faces of truth. Talvar, on the other hand, is a different ball game. Not that it is bad but one finds it rather difficult to appreciate its desperation as a work of cinema. Everything about the movie looks somewhat forced, as if someone is knocking at the doors of creativity in a hope to conjure up a semblance of realism. A craving for realism in an attempted "Whodunit" is not exactly the best idea.
Neeraj Kabi seems to be missing his mojo (an actor of his caliber deserve meatier caricatures). Konkona Sen too looks a bit out of place. And while Irrfan Khan fails to bring his A-game to the table, his performance nonetheless is the movie's strongest point (his scenes with Tabu, who makes a guest appearance, are quite solid), especially thanks to his characteristic wry humour and wit that offer some comic relief at crucial moments. But even that is a bit forced. Don't believe me? Just consider him (and another character) referring to the Missionary Position as "Dharam Pracharak Aasan" and Pornography as "Ashleel Sahitya" in one of the sequences. Overall, Talvar, given its promise, proves to be an underwhelming experience.
For a detailed analysis of the film, please visit my film blog "A Potpourri of Vestiges".
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