A Fresh Look at Subhash Ghai's Taal: Has Time Been Kind?
Revisiting Taal After 26 Years
Experiencing Subhash Ghai’s film Taal more than two decades after its debut reveals that it may not be the enchanting tale one might have anticipated. The film has not aged gracefully, struggling to balance between sincerity and a touristy vibe, ultimately leaning towards the latter.
The music by A R Rahman remains a delightful experience. Ghai is often recognized for his musical prowess, though his storytelling leaves much to be desired. The seamless integration of Rahman’s melodies into the film's narrative made me wish the sluggish storyline, burdened with traditional values, would simply step aside.
The juxtaposition of folk music with contemporary sounds feels outdated, resembling a harmonium attempting to masquerade as a synthesizer.
Why not just enjoy the songs? They herald a moment of brilliance, albeit fleeting, as Ghai delves into the story of Manav (played by Akshaye Khanna), a city boy, and Manasi (Aishwarya Rai), a village girl, reminiscent of the classic pairing of Rajendra Kumar and Sharmila Tagore in OP Ralhan’s Talaash.
Manav is depicted as urban and sexually experienced, yet still a virgin, while Manasi embodies innocence and purity, which for Ghai translates to her dancing in the rain, blissfully unaware of her audience.
Interestingly, voyeurism does not feature in Manasi’s worldview, nor does urban sophistication. Following an insult from Manav’s father (Amrish Puri) towards Manasi’s father (the traditional Alok Nath), she swiftly leaves Manav to pursue a career as a singer, mentored and desired by Vikrant (Anil Kapoor).
Vikrant’s problematic attitude of 'if you can’t have him, why not have me?' creates a lackluster dynamic between him and Manasi, making their interactions the weakest aspect of the otherwise formulaic screenplay. This couple is inherently mismatched, much like Kapoor and Sridevi in Taal. The cold chemistry between Rai and Kapoor significantly detracts from the film’s lengthy romantic narrative.
As for Akshaye Khanna, one wonders if he ever shares genuine chemistry with his co-stars; he often appears to be more enamored with himself than with his leading ladies.
Taal presents itself as a self-important commentary on cultural preservation, highlighting the modern threats to its pristine heritage.
Unfortunately, it often finds itself mired in the muck while navigating through its idealistic vision, all while casting a critical eye on contemporary culture.