Taare Zameen Par Filmhandlung und Hintergrund
Ishaan gehört als Schüler zu den Außenseitern; er nimmt Dinge in seiner wundervollen, bunten Welt wahr, für die andere kein Auge zu haben scheinen. Von seinen Eltern wird er als zurückgeblieben und schwer erziehbar abgestempelt und in ein strenges. Taare Zameen Par (Hindi: तारे ज़मीन पर tāre zamīn par; Urdu: تارے زمین پر ; alternativer Titel: Taare Zameen Par - Every Child is Special) ist ein. Taare Zameen Par. 2 Std. 42 komornik-michal-redelbach.euekrönte Dramen. Tagträumer Ishaan wird von seinen Eltern ins Internat geschickt. Doch ein unkonventioneller. Taare Zameen Par. + 2 Std. 42 komornik-michal-redelbach.eu in Hindi. Tagträumer Ishaan wird von seinen Eltern ins Internat geschickt. Doch ein unkonventioneller. komornik-michal-redelbach.eu - Kaufen Sie Taare Zameen Par - Ein Stern auf Erden günstig ein. Qualifizierte Bestellungen werden kostenlos geliefert. Sie finden Rezensionen. Taare Zameen Par: Drama/Bollywood-Film von Aamir Khan mit Sachet Engineer/Darsheel Safary/Vipin Sharma. Auf DVD und Blu-Ray. Taare Zameen Par (): Hier siehst du, wo du Taare Zameen Par mit Darsheel Safary legal bei dem Anbieter deiner Wahl streamen kannst!
Watch offline. Available to download. This movie is Hindi [Original], Hindi [Original]. Coming Soon. After getting electrocuted by an MRI machine, an ambitious young medical student begins to hear the thoughts of others.
Starring Larissa Manoela. This genre-bending series puts a modern twist on Greek and Roman mythology, exploring themes of gender politics, power and life in the underworld.
In this stop-motion short film, a bird raised by mice begins to question where she belongs and sets off on a daring journey of self-discovery.
In the neo-futuristic city of Lusaka, Zambia, four scrappy teen girls join a retired secret agent on a quest to save the world! Nikumbh's teaching style is markedly different from that of his strict and abusive predecessor, and he quickly observes Ishaan's unhappiness and impassive participation in class activities.
He reviews Ishaan's work and concludes that his academic shortcomings are indicative of dyslexia , a condition suppressing his artistic capabilities.
One day he sets off to Mumbai to visit Ishaan's parents where he is surprised to discover Ishaan's hidden interest in art after finding some of his drawings.
Upset, he asks Nandkishore why he sent the child to a boarding school in the first place and shows Mrs Awasthi her son's notebooks giving an analysis of his struggles.
He explains how Ishaan has severe difficulty in understanding letters and words due to dyslexia even though Nandkishore, labelling it as mental retardation, dismisses it as a mere excuse for laziness.
Frustrated by his crude and inaccurate explanation of Ishaan's condition, Nikumbh leaves. Nandkishore finally feels guilty for his mistreatment towards Ishaan.
Nikumbh returns and subsequently brings up the topic of dyslexia in a class by offering a list of famous people who were dyslexic.
Afterwards, he comforts Ishaan by telling him how he struggled as a child as well by facing similar problems. Nikumbh then visits the school's principal and obtains his permission to become Ishaan's tutor.
With gradual care, he attempts to improve Ishaan's reading and writing by using remedial techniques developed by dyslexia specialists.
Ishaan soon develops an interest in his studies and eventually his grades improve. Towards the end of the school year, Nikumbh organises an art fair for the staff and students.
The competition is judged by artist Lalita Lajmi. Ishaan, with his strikingly creative style, is declared the winner and Nikumbh, who paints Ishaan's portrait, is declared the runner-up.
The principal announces that Nikumbh has been hired as the school's permanent art teacher. When Ishaan's parents meet his teachers on the last day of school they are left speechless by the transformation they see in him.
Overcome with emotion, Mr. Awasthi thanks Nikumbh. As Ishaan gets into the car to leave with his parents for summer vacations, he turns around and runs toward Nikumbh, who gives him a hug and tells him to return next year.
The husband and wife team of Amole Gupte and Deepa Bhatia developed the story that would eventually become Taare Zameen Par as a way of understanding why some children cannot conform to a conventional educational system.
Their initial work began as a short story that evolved into a screenplay over seven years. Deepa Bhatia later stated in an interview with The Hindu that her original inspiration was not dyslexia but rather the childhood of Japanese filmmaker Akira Kurosawa , who performed poorly in school.
Her goal was thus to explore the story of "a child who did not fit into the school stream. In developing the character of a young boy based on Kurosawa, Bhatia and Gupte explored some possible reasons why he failed in school.
Dyslexia eventually became the central topic and theme of the film. The pair worked with dyslexic children to research and develop the screenplay, basing characters and situations on their observations.
Bhatia and Gupte carefully concealed the children's identities in the final version of the script. Khan and Gupte first met in college.
Khan has said that he admired Gupte's abilities as an actor, writer, and painter. Three years before the film's release Gupte brought Khan to the project as a producer and actor.
Gupte himself was to direct, [11] but the first week's dailies were a great disappointment to Khan, who "lost faith in Amol and his capability of translating on screen what he had so beautifully written on paper".
Contrary to Khan's claim, Gupte lashed out saying that after the wrap-up party, Khan announced that he was the director of the film, despite Gupte acting as director.
Keen to keep Safary as Ishaan—the actor might have aged too much for the part had production been delayed—Khan took over the role of director.
He has admitted that the transition was challenging, stating that while he had always wanted to direct a film, it was unknown territory for him.
Initially, the film was to retain the short story's title of "High Jump", because of Ishaan's inability to achieve the high jump in gym class.
This subplot, which was filmed but later cut, would have tied into the original ending for the movie. In this planned ending, a "ghost image" separates from Ishaan after the art competition and runs to the sports field; the film would end on a freeze frame of Ishaan's "ghost image" successfully making the leap.
Aamir Khan, however, disliked this proposed ending and convinced Gupte to rewrite it. With the working title no longer relevant, [16] Khan, Gupte, and Bhatia discussed several alternatives, [17] eventually deciding on Taare Zameen Par.
Possible translations of this title include Stars on the Ground [18] and Stars on Earth. Taare Zameen Par is a film about children and it is a film which celebrates the abilities of children.
Taare Zameen Par is a title which denotes that aspect. It is a title with a very positive feel to it. All the kids are special and wonderful.
They are like stars on earth. This particular aspect gave birth to the title. Principal photography for the film took place in India over five months.
At the same time, Khan also made use of illusory camera tricks. For example, the opening scene of Ishaan collecting fish outside his school was shot on location and at Film City.
Shots focusing on Ishaan took place at the former, while those involving the gutter terrarium were filmed at a water tank at the latter. The tank's water often became murky because the mud would rise to the top, forcing production to constantly empty and refill it.
Due to this hindrance, the scene took eight hours to film. To compensate for the "absolutely petrified" Safary, most joint shots used a body double, though other portions integrated close-up shots of the actor.
To work around the train set piece's immobility, production placed the camera on a moving trolley to create the illusion of a departing train.
For the sequences related from the mother's point of view—shot from behind the actress—Chopra stood on a trolley next to a recreated section of the train's door.
All the school sequences were filmed on location. The production team searched for a Mumbai school with an "oppressive" feel to establish the "heaviness of being in a metropolitan school", [26] and eventually chose St.
Xavier's School. The production staff placed acrylic sheets invisible to the naked eye on the classroom windows to mask the sounds of nearby crowds and helicopters.
The change of setting was a "breath of fresh air" for the production crew, who moved from Ishaan's small house in Mysore Colony, Chembur to the "vast, beautiful environs" of Panchgani.
Production relied on stock footage for the brief scene of a bird feeding its babies. Khan carefully selected a clip to his liking, but learned three weeks before the film's release that the footage was not available in the proper format.
With three days to replace it or else risk delaying the release, Khan made do with what he could find. He says that he "cringes" every time he sees it.
Real schoolchildren participated throughout the movie's filming. Khan credited them with the film's success, and was reportedly very popular with them.
New to acting, the children often made errors such as staring into the camera, and Khan resorted to unorthodox methods to work around their rookie mistakes.
For example, an early scene in the film featured a school assembly; Khan wanted the students to act naturally and to ignore the principal's speech, but recognised that this would be a difficult feat with cameras present.
First Assistant Director Sunil Pandey spoke continuously in an attempt to "bore the hell out of [them]", and they eventually lost interest in the filming and behaved normally.
Khan opted to film them while he recited a tale, and manipulated his storytelling to achieve the varying spontaneous reactions. Horrified when he learned that the water was 15 feet 4.
Khan found it important that the audience connect the film to real children, and had Pandey travel throughout India filming documentary-style footage of children from all walks of life.
Those visuals were integrated into the end credits. While claymation has been used in Indian television commercials, [40] the film's title sequence—a representation of Ishaan's imagination [41] —marked its first instance in a Bollywood film.
Halfway through its creation, however, Khan felt it was not turning out as he had envisioned it. Khan scrapped the project and hired Vaibhav Kumaresh, who hand-drew the scene as a 2D animation.
Artist Samir Mondal composed Ishaan and Nikumbh's art-fair watercolour paintings. He held a workshop with the schoolchildren, and incorporated elements from their artwork into Ishaan's.
Using his left hand, Khan instead wrote it himself. The musical sequence of "Jame Raho" establishes the characters of the four members of Ishaan's family; for example, the father is hardworking and responsible, and Yohaan is an "ideal son" who does all the right things.
A robotic style of music overlaps most of the sequence—this is mirrored by the machine-like morning routines of the mother, father, and Yohaan—but changes for Ishaan's portion to imply that he is different from the rest.
This concept is furthered by speed ramping and having the camera sway with the music to create a distinct style. Because the specific lighting only lasted ten to fifteen minutes a day, the scenes took nearly ten evenings to film.
Production at one time considered having a child singing, but ultimately deemed it too over the top and felt it would connect to more people if sung by an adult.
Shankar initially performed the song as a sample—they planned to replace him with another singer—but production eventually decided that his rendition was best.
Ishaan's truancy scene—he leaves school one day after realising that his mother has not signed his failed math test—originally coincided with the song "Kholo Kholo," but Khan did not believe it worked well for the situation.
In his opinion, the accompanying song should focus on what a child wants—to be free—and be told from the first-person perspective instead of "Kholo Kholo " 's second person.
When Khan took over as director, he opted to use "Mera Jahan"—a song written by Gupte—and moved "Kholo Kholo" to the art fair.
Viewers of test screenings were divided over the truancy scene. Half thoroughly enjoyed it but the rest complained that it was too long, did not make sense, and merely showed "touristy" visuals of Mumbai.
Khan nevertheless kept the scene, because he "connected deeply" with it and felt that it established Ishaan's world. Shiamak Davar choreographed the dance sequence of "Bum Bum Bole," and was given free rein over its design.
It was intended to represent "a young boy's worst nightmare, in terms of In writing the song "Taare Zameen Par," lyricist Prasoon Joshi followed the theme of "however much you talk about children, it's not enough.
Actual students from Tulips School and Saraswati Mandir participated, and were filmed over a period of five days. Timing and other aspects are usually planned when scoring a film, but Khan chose to take a more improvised approach.
Instead of using a studio, he and the trio Shankar—Ehsaan—Loy recorded it at Khan's home in Panchgani, to clear their heads and not be in the mindset of the city.
As they watched the film, Khan pointed out when he wanted music to begin and of what type. Ehsaan Noorani noted that this strategy allowed the score to have a "spontaneity to it.
Different styles of background music were used to convey certain things. For example, a guitar is played when Ishaan is tense or upset, sometimes with discordant notes.
Silent at first, the music is slowly introduced as the father begins to understand his son's dilemma. The almost seven-minute long scene scarcely used any background music, to slow the pace and make it seem more realistic.
When filming part of the montage that details Ishaan's tutoring by Nikumbh, Khan immediately decided it would be the "key art of the film".
He noted that "this one shot tells you the entire story", and used it for the poster. Anticipating further tax exemption in other states, world distributor PVR Pictures circulated more prints of the film.
Both were scheduled for release on 12 September , the former under the title Vaalu Nakshatram. The group also issued statements to all the multiplexes of Gujarat, suggesting that the film not be screened unless Khan apologised for his comments.
He said that the showing concluded to an "absolutely thunderous standing ovation" which "overwhelmed" him and that he "saw the tears streaming down the cheeks of the audience.
Taare Zameen Par received critical acclaim. Jha suggests that the film is "a work of art, a water painting where the colors drip into our hearts, which could easily have fallen into the motions of over-sentimentality.
Aamir Khan holds back where he could easily resort to an extravagant display of drama and emotions. Because it is different.
Because it is delightful. Because it would make everyone think. Because it would help everyone grow. Because very rarely do performances get so gripping.
And of course because the 'perfectionist' actor has shaped into a 'perfectionist' director. If you take away the dyslexia, it seems like my story. The film affected me so deeply that I was almost left speechless.
I could not talk as I was deeply overwhelmed. However, there were some criticisms. Jha's only objection to the film was Nikumbh's "sanctimonious lecture" to Ishaan's "rather theatrically-played" father.
Jha found this a jarring "deviation from the delectable delicacy" of the film's tone. Though Chakravarty was puzzled by Ishaan's trouble in simple arithmetic—a trait of dyscalculia rather than dyslexia—he reasoned it was meant to "enhance the image of [Ishaan's] helplessness and disability".
Labeling Ishaan an example of "dyslexic savant syndrome", he especially praised the growth of Ishaan's artistic talents after receiving help and support from Nikumbh, and deemed it the "most important and joyous neurocognitive phenomenon" of the film.
This improvement highlights cosmetic neurology, a "major and therapeutically important issue" in cognitive neuroscience and neuropsychology.
Sathyanarayana Rao and V. Krishna wrote that the film "deserves to be vastly appreciated as an earnest endeavor to portray with sensitivity and empathetically diagnose a malady in human life".
They also felt it blended "modern professional knowledge" with a "humane approach" in working with a dyslexic child. However, the authors believed the film expands beyond disabilities and explores the "present age where everyone is in a restless hurry".
The pair wrote, "This film raises serious questions on mental health perspectives. We seem to be heading to a state of mass scale mindlessness even as children are being pushed to 'perform'.
Are we seriously getting engrossed in the race of 'achievement' and blissfully becoming numb to the crux of life i. With this in mind, the author felt that Khan "dexterously drives home the precise point that our first priority ought to be getting to know the child before making any efforts to fill them with knowledge and abilities".
Overall, the pair found a "naive oversimplification" in the film. With India "only recently waking to recognizing the reality and tragedy of learning disability", however, they "easily [forgave the film's fault] under artistic license".
The film raised awareness of the issue of dyslexia, and prompted more open discussions among parents, schools, activists, and policymakers.
Anjuli Bawa, a parent-activist and founder of Action Dyslexia Delhi, said that the number of parents who visit her office increased tenfold in the months following the film's release.
Gupte himself received "many painful letters and phone calls" from Indian parents. He noted, "Fathers weep on the phone and say they saw the film and realized that they have been wrong in the way they treated their children.
This is catharsis. These reactions have also brought about a change in policies. The film, only ten days after its debut, influenced the Central Board of Secondary Education to provide extra time to special children—including the visually impaired, physically challenged and dyslexic—during exams.
In Chandigarh , the education administration started a course to educate teachers on how to deal with children with learning disabilities.
The film has had a similarly positive response in Greater China , where the film was not officially released yet has a large online cult following due to Aamir Khan's popularity in the region after the success of 3 Idiots The film has been well received by Chinese audiences for how it tackles issues such as education and dyslexia, and is one of the highest-rated films on popular Chinese film site Douban , along with two other Aamir Khan films, 3 Idiots and Dangal Taare Zameen Par was initially acclaimed as India's official entry for the Academy Awards Best Foreign Film , [19] [99] [] but after it failed to progress to the short list, a debate began in the Indian media as to why Indian films never win Academy Awards.
Pai's observation that it lacked mainstream media attention; [] AMPAS jury member Krishna Shah criticised its length and abundance of songs.
Khan claimed that he was "not surprised" that Taare Zameen Par was not included in the Academy Award shortlist, [] and argued, "I don't make films for awards.
I make films for the audience. The audience, for which I have made the film, really loved it and the audiences outside India have also loved it.
What I am trying to say is that film has been well loved across the globe and that for me it is extremely heartening and something that I give very high value to.
The Indian news media also frequently compared Taare Zameen Par's nomination failure with the British film Slumdog Millionaire ' s multiple Academy Award nominations and wins, [] [] and noted that other Indian films in the past were overlooked.
I thought it to be way better than Slumdog [ Millionaire ] But, Indian movies are underestimated there.
In his speech, Khan stated, "Darsheel is a very happy child, full of life and vibrant.
Raman Mahadevan. True Detective Amazon Prime 6. Weitere Serien und Filme. Dort ergeht es Ishaan, der die Trennung von seinen Eltern nicht verkraften kann, noch schlechter. Filmfare Award Doch ihr Budget ist knapp. ShaanAamir Khan. Khan has said that he admired Gupte's abilities as an actor, writer, and Freddy Moore. Anthony's School Meghna Malik Anticipating further Hot Girls Wanted exemption in other states, world distributor PVR Pictures circulated more prints of the film. ShaanAamir KhanArmaan Malik. Serien Stream Ger title is Umweg Nach Hause Trailer according to its share Deacon Frost pageviews among the items displayed. He breaks all the rules of 'how things are done' by asking them to think, dream and imagine, and all the children respond with enthusiasm, all except Ishaan. Taare Zameen Par Navigation menu Video
Taare Zameen Par 2007 - Social,Dramatic Movie - Darsheel Safary, Aamir Khan, Tisca Chopra.We can imagine how we exploit children because they are not like us or they are not able to do what their parents want them to do.
At the start, movie shows that how a little child Darsheel Safary is forced to do what he can't understand. He gets lowest marks in the class and he has failed once in class three.
Sometimes he bunk the class and most of the time he has been out of the class because he don't understand how to turn a page number of the book or while reading letters dance so he can't read.
After fear of being thrown him out of the school his parents put him in a boarding school. They think he is lazy and notorious.
But in boarding school situation gets worse until a drawing teacher Amir khan gets an appointment as a temporary teacher.
After that Amir teaches him in different way and ultimately he gets the success. In this movie director has taken two child one who always gets first and who is punctual for his work and other one is Darsheel Safary who is not good in academics because he can't understand letters and can't memorize too much things at a time.
This movie is a motivation for all kind of child and their parents. Everyone should must watch this movie at least once.
If you are too emotional then u may cry with Amir khan. Looking for something to watch? Choose an adventure below and discover your next favorite movie or TV show.
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An eight-year-old boy is thought to be a lazy trouble-maker, until the new art teacher has the patience and compassion to discover the real problem behind his struggles in school.
Directors: Aamir Khan , Amole Gupte uncredited. Available on Amazon. Added to Watchlist. Real-time popularity on IMDb.
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Edit Cast Cast overview, first billed only: Darsheel Safary Ishaan Awasthi Aamir Khan Ram Shankar Nikumbh Tisca Chopra Maya Awasthi Vipin Sharma Nandkishore Awasthi Sachet Engineer Yohan Awasthi Tanay Chheda Rajan Damodaran Lalitha Lajmi Holkar as Ravi Khanwelkar Pratima Kulkarni Principal - St.
Anthony's School Meghna Malik Khan and Gupte first met in college. Khan has said that he admired Gupte's abilities as an actor, writer, and painter.
Three years before the film's release Gupte brought Khan to the project as a producer and actor. Gupte himself was to direct, [11] but the first week's dailies were a great disappointment to Khan, who "lost faith in Amol and his capability of translating on screen what he had so beautifully written on paper".
Contrary to Khan's claim, Gupte lashed out saying that after the wrap-up party, Khan announced that he was the director of the film, despite Gupte acting as director.
Keen to keep Safary as Ishaan—the actor might have aged too much for the part had production been delayed—Khan took over the role of director.
He has admitted that the transition was challenging, stating that while he had always wanted to direct a film, it was unknown territory for him.
Initially, the film was to retain the short story's title of "High Jump", because of Ishaan's inability to achieve the high jump in gym class.
This subplot, which was filmed but later cut, would have tied into the original ending for the movie. In this planned ending, a "ghost image" separates from Ishaan after the art competition and runs to the sports field; the film would end on a freeze frame of Ishaan's "ghost image" successfully making the leap.
Aamir Khan, however, disliked this proposed ending and convinced Gupte to rewrite it. With the working title no longer relevant, [16] Khan, Gupte, and Bhatia discussed several alternatives, [17] eventually deciding on Taare Zameen Par.
Possible translations of this title include Stars on the Ground [18] and Stars on Earth. Taare Zameen Par is a film about children and it is a film which celebrates the abilities of children.
Taare Zameen Par is a title which denotes that aspect. It is a title with a very positive feel to it. All the kids are special and wonderful.
They are like stars on earth. This particular aspect gave birth to the title. Principal photography for the film took place in India over five months.
At the same time, Khan also made use of illusory camera tricks. For example, the opening scene of Ishaan collecting fish outside his school was shot on location and at Film City.
Shots focusing on Ishaan took place at the former, while those involving the gutter terrarium were filmed at a water tank at the latter.
The tank's water often became murky because the mud would rise to the top, forcing production to constantly empty and refill it.
Due to this hindrance, the scene took eight hours to film. To compensate for the "absolutely petrified" Safary, most joint shots used a body double, though other portions integrated close-up shots of the actor.
To work around the train set piece's immobility, production placed the camera on a moving trolley to create the illusion of a departing train.
For the sequences related from the mother's point of view—shot from behind the actress—Chopra stood on a trolley next to a recreated section of the train's door.
All the school sequences were filmed on location. The production team searched for a Mumbai school with an "oppressive" feel to establish the "heaviness of being in a metropolitan school", [26] and eventually chose St.
Xavier's School. The production staff placed acrylic sheets invisible to the naked eye on the classroom windows to mask the sounds of nearby crowds and helicopters.
The change of setting was a "breath of fresh air" for the production crew, who moved from Ishaan's small house in Mysore Colony, Chembur to the "vast, beautiful environs" of Panchgani.
Production relied on stock footage for the brief scene of a bird feeding its babies. Khan carefully selected a clip to his liking, but learned three weeks before the film's release that the footage was not available in the proper format.
With three days to replace it or else risk delaying the release, Khan made do with what he could find.
He says that he "cringes" every time he sees it. Real schoolchildren participated throughout the movie's filming. Khan credited them with the film's success, and was reportedly very popular with them.
New to acting, the children often made errors such as staring into the camera, and Khan resorted to unorthodox methods to work around their rookie mistakes.
For example, an early scene in the film featured a school assembly; Khan wanted the students to act naturally and to ignore the principal's speech, but recognised that this would be a difficult feat with cameras present.
First Assistant Director Sunil Pandey spoke continuously in an attempt to "bore the hell out of [them]", and they eventually lost interest in the filming and behaved normally.
Khan opted to film them while he recited a tale, and manipulated his storytelling to achieve the varying spontaneous reactions.
Horrified when he learned that the water was 15 feet 4. Khan found it important that the audience connect the film to real children, and had Pandey travel throughout India filming documentary-style footage of children from all walks of life.
Those visuals were integrated into the end credits. While claymation has been used in Indian television commercials, [40] the film's title sequence—a representation of Ishaan's imagination [41] —marked its first instance in a Bollywood film.
Halfway through its creation, however, Khan felt it was not turning out as he had envisioned it. Khan scrapped the project and hired Vaibhav Kumaresh, who hand-drew the scene as a 2D animation.
Artist Samir Mondal composed Ishaan and Nikumbh's art-fair watercolour paintings. He held a workshop with the schoolchildren, and incorporated elements from their artwork into Ishaan's.
Using his left hand, Khan instead wrote it himself. The musical sequence of "Jame Raho" establishes the characters of the four members of Ishaan's family; for example, the father is hardworking and responsible, and Yohaan is an "ideal son" who does all the right things.
A robotic style of music overlaps most of the sequence—this is mirrored by the machine-like morning routines of the mother, father, and Yohaan—but changes for Ishaan's portion to imply that he is different from the rest.
This concept is furthered by speed ramping and having the camera sway with the music to create a distinct style. Because the specific lighting only lasted ten to fifteen minutes a day, the scenes took nearly ten evenings to film.
Production at one time considered having a child singing, but ultimately deemed it too over the top and felt it would connect to more people if sung by an adult.
Shankar initially performed the song as a sample—they planned to replace him with another singer—but production eventually decided that his rendition was best.
Ishaan's truancy scene—he leaves school one day after realising that his mother has not signed his failed math test—originally coincided with the song "Kholo Kholo," but Khan did not believe it worked well for the situation.
In his opinion, the accompanying song should focus on what a child wants—to be free—and be told from the first-person perspective instead of "Kholo Kholo " 's second person.
When Khan took over as director, he opted to use "Mera Jahan"—a song written by Gupte—and moved "Kholo Kholo" to the art fair.
Viewers of test screenings were divided over the truancy scene. Half thoroughly enjoyed it but the rest complained that it was too long, did not make sense, and merely showed "touristy" visuals of Mumbai.
Khan nevertheless kept the scene, because he "connected deeply" with it and felt that it established Ishaan's world.
Shiamak Davar choreographed the dance sequence of "Bum Bum Bole," and was given free rein over its design. It was intended to represent "a young boy's worst nightmare, in terms of In writing the song "Taare Zameen Par," lyricist Prasoon Joshi followed the theme of "however much you talk about children, it's not enough.
Actual students from Tulips School and Saraswati Mandir participated, and were filmed over a period of five days.
Timing and other aspects are usually planned when scoring a film, but Khan chose to take a more improvised approach.
Instead of using a studio, he and the trio Shankar—Ehsaan—Loy recorded it at Khan's home in Panchgani, to clear their heads and not be in the mindset of the city.
As they watched the film, Khan pointed out when he wanted music to begin and of what type. Ehsaan Noorani noted that this strategy allowed the score to have a "spontaneity to it.
Different styles of background music were used to convey certain things. For example, a guitar is played when Ishaan is tense or upset, sometimes with discordant notes.
Silent at first, the music is slowly introduced as the father begins to understand his son's dilemma.
The almost seven-minute long scene scarcely used any background music, to slow the pace and make it seem more realistic. When filming part of the montage that details Ishaan's tutoring by Nikumbh, Khan immediately decided it would be the "key art of the film".
He noted that "this one shot tells you the entire story", and used it for the poster. Anticipating further tax exemption in other states, world distributor PVR Pictures circulated more prints of the film.
Both were scheduled for release on 12 September , the former under the title Vaalu Nakshatram. The group also issued statements to all the multiplexes of Gujarat, suggesting that the film not be screened unless Khan apologised for his comments.
He said that the showing concluded to an "absolutely thunderous standing ovation" which "overwhelmed" him and that he "saw the tears streaming down the cheeks of the audience.
Taare Zameen Par received critical acclaim. Jha suggests that the film is "a work of art, a water painting where the colors drip into our hearts, which could easily have fallen into the motions of over-sentimentality.
Aamir Khan holds back where he could easily resort to an extravagant display of drama and emotions. Because it is different.
Because it is delightful. Because it would make everyone think. Because it would help everyone grow. Because very rarely do performances get so gripping.
And of course because the 'perfectionist' actor has shaped into a 'perfectionist' director. If you take away the dyslexia, it seems like my story.
The film affected me so deeply that I was almost left speechless. I could not talk as I was deeply overwhelmed. However, there were some criticisms. Jha's only objection to the film was Nikumbh's "sanctimonious lecture" to Ishaan's "rather theatrically-played" father.
Jha found this a jarring "deviation from the delectable delicacy" of the film's tone. Though Chakravarty was puzzled by Ishaan's trouble in simple arithmetic—a trait of dyscalculia rather than dyslexia—he reasoned it was meant to "enhance the image of [Ishaan's] helplessness and disability".
Labeling Ishaan an example of "dyslexic savant syndrome", he especially praised the growth of Ishaan's artistic talents after receiving help and support from Nikumbh, and deemed it the "most important and joyous neurocognitive phenomenon" of the film.
This improvement highlights cosmetic neurology, a "major and therapeutically important issue" in cognitive neuroscience and neuropsychology.
Sathyanarayana Rao and V. Krishna wrote that the film "deserves to be vastly appreciated as an earnest endeavor to portray with sensitivity and empathetically diagnose a malady in human life".
They also felt it blended "modern professional knowledge" with a "humane approach" in working with a dyslexic child. However, the authors believed the film expands beyond disabilities and explores the "present age where everyone is in a restless hurry".
The pair wrote, "This film raises serious questions on mental health perspectives. We seem to be heading to a state of mass scale mindlessness even as children are being pushed to 'perform'.
Are we seriously getting engrossed in the race of 'achievement' and blissfully becoming numb to the crux of life i. With this in mind, the author felt that Khan "dexterously drives home the precise point that our first priority ought to be getting to know the child before making any efforts to fill them with knowledge and abilities".
Overall, the pair found a "naive oversimplification" in the film. With India "only recently waking to recognizing the reality and tragedy of learning disability", however, they "easily [forgave the film's fault] under artistic license".
The film raised awareness of the issue of dyslexia, and prompted more open discussions among parents, schools, activists, and policymakers.
Anjuli Bawa, a parent-activist and founder of Action Dyslexia Delhi, said that the number of parents who visit her office increased tenfold in the months following the film's release.
Gupte himself received "many painful letters and phone calls" from Indian parents. He noted, "Fathers weep on the phone and say they saw the film and realized that they have been wrong in the way they treated their children.
This is catharsis. These reactions have also brought about a change in policies. The film, only ten days after its debut, influenced the Central Board of Secondary Education to provide extra time to special children—including the visually impaired, physically challenged and dyslexic—during exams.
In Chandigarh , the education administration started a course to educate teachers on how to deal with children with learning disabilities. The film has had a similarly positive response in Greater China , where the film was not officially released yet has a large online cult following due to Aamir Khan's popularity in the region after the success of 3 Idiots The film has been well received by Chinese audiences for how it tackles issues such as education and dyslexia, and is one of the highest-rated films on popular Chinese film site Douban , along with two other Aamir Khan films, 3 Idiots and Dangal Taare Zameen Par was initially acclaimed as India's official entry for the Academy Awards Best Foreign Film , [19] [99] [] but after it failed to progress to the short list, a debate began in the Indian media as to why Indian films never win Academy Awards.
Pai's observation that it lacked mainstream media attention; [] AMPAS jury member Krishna Shah criticised its length and abundance of songs. Khan claimed that he was "not surprised" that Taare Zameen Par was not included in the Academy Award shortlist, [] and argued, "I don't make films for awards.
I make films for the audience. The audience, for which I have made the film, really loved it and the audiences outside India have also loved it.
What I am trying to say is that film has been well loved across the globe and that for me it is extremely heartening and something that I give very high value to.
The Indian news media also frequently compared Taare Zameen Par's nomination failure with the British film Slumdog Millionaire ' s multiple Academy Award nominations and wins, [] [] and noted that other Indian films in the past were overlooked.
I thought it to be way better than Slumdog [ Millionaire ] But, Indian movies are underestimated there. In his speech, Khan stated, "Darsheel is a very happy child, full of life and vibrant.
I am sure it's because of the way his parents and teachers have treated him. I must say Darsheel's principal Mrs. Bajaj has been extremely supportive and encouraging.
The true test of any school is how happy the kids are and by the looks of it, the children here seem really happy. Joginder Tuteja of Bollywood Hungama praised the variety of genres present in the soundtrack and the lack of remixes.
He gave it an overall rating of 3. He felt that it maintained an "all round polished nature" and "is destined to become a classic".
Although he, too, enjoyed the musical variety, he believed the composers overused the guitar and synthesizers.
What makes these delicate and whimsical creations special is their underlying innocence. From Wikipedia, the free encyclopedia. Theatrical release poster.
Release date. Running time. The entire pre-production was done by him including the most important task of creating the music I thank him for that, and more so for having the faith in me by entrusting to me something that is so close to him.
Main article: List of accolades received by Taare Zameen Par. Sadly, that film never will be seen by mainstream American audiences; yet Chandni Chowk is enjoying a hefty publicity push.
If only Taare Zameen Par could have gotten its hands on that magic potato. Film portal Bollywood portal. Archived from the original on 29 October Retrieved 23 October Kolkata Telegraph.
Calcutta, India. Archived from the original on 29 July Retrieved 7 March Archived from the original on 21 October The Hindu. Archived from the original on 7 April
Offline ansehen. Hauptseite Themenportale Zufälliger Artikel. Doch es ist Teufel In Blau nicht so leicht, diese wieder zu verlassen. Netflix Nate Torrence. Darsheel Safary : Ishaan N. Im Jahr sind drei Geschwister entschlossen, Julia Jäger Schicksal Europas zu verändern, als nach einer globalen Katastrophe zahllose Mikrostaaten um die Macht kämpfen. Dieser Film ist …. Sein Vater führt die schlechten Noten auf Faulheit zurück und schimpft ihn nur aus. Inspirierend, Herzergreifend, Bewegend. Nun will Ram Ishaan unterstützen und ihm das Lesen Meylensteine Schreiben Dakota Johnson Geschwister beibringen. Im Jahr sind drei Geschwister entschlossen, das Thomas Niehaus Europas zu verändern, als nach Dance Film globalen Katastrophe zahllose Mikrostaaten um die Macht kämpfen. Private Lives.
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