By Subhrajyoti Bhattacharya
Aamir Khan’s films are always an event.
They come once in four or five years, and when they do, they carry the weight of expectations galore—especially so when he’s both producing and acting, as is the case with his latest release, ‘Sitaare Zameen Par’.
The film hit cinemas riding on a double wave of anticipation—first, as a spiritual sequel to the deeply moving ‘Taare Zameen Par’ (2007), incidentally his only directorial venture; and second, because this time, Aamir plays the central protagonist himself.
The expectations haven’t exactly been belied—but somewhere, something feels a bit off.
First, the POSITIVES:
Adapted from the Spanish film ‘Champions’, ‘Sitaare Zameen Par’ scores high on thematic innovation. A hot-headed yet brilliant basketball coach—too rebellious for the system—finds himself suspended and, as if that’s not enough, ends up in court following a drunken-driving incident. Recognising his coaching talent, the judge offers him an unusual sentence: either spend three months in jail or coach a team of neurodivergent adults. Reluctantly—and under compulsion—he chooses the latter.
At first, the task proves daunting. Communicating with these ‘grown-up children’ is no easy feat. Each team member comes with their own quirks and peculiarities. What might seem hilarious to an outsider becomes a daily struggle for coach Gulsan Aurora (Aamir Khan). But with the threat of imprisonment looming, he perseveres. Gradually—and without his realizing—he begins to connect with them. Each has a story to tell—fascinating and unique in its own way.
As Gulsan spends more time with them, he discovers their intelligence, resilience, and human values. He manages to forge a team out of this motley group and leads them to win match after match, eventually reaching the finals of a tournament in faraway Mumbai. They narrowly lose the title clash, and while he is heartbroken, the team is jubilant. For them, the journey itself is the victory.
That very moment becomes the emotional core of the film, as Gulsan realises it is they who taught him a profound lesson—not the other way around. The farewell scene, where he hugs each member in a tearful goodbye amid a cake-cutting session as a new coach steps in, is sincere and moving—and perhaps, the only moment when your eyes sting with a hint of a tear.
What Pulls the Film Down:
This could have been a truly touching, unforgettable film—akin to ‘Taare Zameen Par’—but it’s let down by too many digressions. Some of the comedy arising from the team members’ mannerisms feels repetitive and lacks the ‘tragi-comic’ or ‘serio-comic’ nuance that might’ve lent these scenes certain emotional weight. As an audience, you laugh at their pyrotechnics—but only that. The humour somehow fails to touch a deeper chord.
The domestic subplot involving his wife (played by Genelia Deshmukh, returning after a long hiatus), while sweet, occasionally pulls focus away from the main arc. The unnecessary romantic angle between his mother (Dolly Ahluwalia) and their bawarchi, Daulat ji (Brijendra Kala), is another detour the story could’ve easily done without—especially in a film handling such a sensitive theme!
These narrative distractions, though not without their share of charm, dilute the emotional core of the film.
Despite the ‘sports’ backdrop, the kind of edge-of-the-seat drama seen in ‘Chak De India’ or even ‘Jo Jeeta Wohi Sikandar’ is conspicuously missing here. The matches lack tension and pulsating energy.
Aamir Khan looks trimmer, fresher, and surprisingly youthful for someone in his sixty plus. But the quiet depth and sensitivity he brought to Nikumbh Sir in ‘Taare Zameen Par’ is somewhat absent here. While he doesn’t look jaded—unlike his rival Shah Rukh Khan these days—he does seem less emotionally invested. Could it be the result of the over-methodical approach he’s known for? Or is it that the script simply didn’t give him enough emotional territory to explore? Incidentally, he hasn’t directed this time.
The actors portraying the neurodivergent characters are mostly effective, both in performance and appearance. Dolly Ahluwalia, of ‘Vicky Donor’ fame, lights up the screen with her portrayal of Aamir’s mother—a possible contender for ‘Best Supporting Actress’ at next year’s Filmfare Awards.
On the Inevitable Comparison with ‘Taare Zameen Par’:
‘Sitaare Zameen Par’ is a film with its heart in the right place. It offers valuable lessons in empathy, inclusion, and the real meaning of success. It reminds us that every human being has his or her own definition of ‘normal’—a lovely leitmotif that runs through the vein of the entire film.
But unlike its illustrious predecessor, this film wavers in tone and tenor. One wishes the loose ends had been tied up better to deliver a more immersive cinematic experience—especially at a time when audiences are starved of quality cinematic experience.
‘Taare Zameen Par’ was filled with many moments that tugged at your heartstrings. In the sequel, you have to struggle to find even one—except, perhaps, the farewell scene.
That, surely, is Sitaare Zameen Par’s greatest undoing. You don’t leave the theatre misty-eyed enough.
Some may argue: why compare it to ‘Taare Zameen Par’?
But really—can we help it?
Even if we keep the ‘name-alikeness’ bit aside for a moment?
(The author is an officer at the IRS & Commissioner of Income Tax retd.)