Aamir Khan’s sitaare do shine, but not so much him. No doubting Khan and director R.S. Prasanna’s noble intention, but the social sports comedy just doesn’t connect emotionally like Taare Zameen Par (2007).
Rating: ⭐️⭐️💫 (2. 5 / 5)
By Mayur Lookhar
In his recent appearance on Aap Ki Adalat on India TV, Aamir Khan described the plight of people with Down syndrome and autism in the simplest yet heart-rending way:
“Imagine there is a birthday party in your building. All kids are invited—except one, all because s/he isn’t deemed ‘normal’ by society,” said Khan.
Such a thought was a motivating factor behind Khan backing a film like Sitaare Zameen Par. Though an official Hindi adaptation of the acclaimed Spanish film Campeones (2018), we deliberately chose not to watch the original. Yes, the original story is from Spain, but the special talents in Sitaare Zameen Par are our own.
Penned by Divy Nidhi Sharma and helmed by R.S Prasanna, Sitaare Zameen Par is a spiritual successor to Khan’s directorial debut Taare Zameen Par (2007).
Story
Gulshan Arora (Khan) is a talented assistant coach for the Delhi basketball team, but his anger issues get the better of him. After he slaps the head coach during a game, he loses his job. Things go further downhill when he crashes into a police car. As punishment, the court orders him to coach a team of intellectually disabled players for three months.
Just the thought of it drives Gulshan up the wall. His personal and professional life is already a mess, and this is the last thing he wants—but he has no choice.
At first, it’s anything but easy. But over the next few months, something unexpected happens. Working with this special team slowly changes Gulshan’s life in ways he never imagined.
Screenplay & Direction
A spiritual successor to Taare Zameen Par, this R.S. Prasanna directorial takes a different route—this time, it’s the teacher who ends up learning life-changing lessons from his players.
Gulshan Arora is nothing like Ram Shankar Nikumbh from Taare Zameen Par. He’s short-tempered, lacks basic manners, knows nothing about working with intellectually disabled people—and yet, he’s asked to coach a team of them. It sounds like a recipe for disaster, but somehow, he forms a genuine bond with the players.
The film not only raises awareness about conditions like Down syndrome and autism, but more importantly, it reminds us that “sabka apna apna normal hai”—everyone has their own version of normal, and we should learn to accept people just the way they are. From here on, no more labels or identities tied to any syndrome. We will simply call these talented folks as sitaare (stars).
Basketball may be central to the plot, but Sitaare Zameen Par is far from your typical sports drama. Credit goes to writer Divy, director R.S. Prasanna, and Aamir Khan Productions for staying true to the original story.
Basketball isn’t a widely followed sport in India, and the film doesn’t try to change that. In fact, if Aamir Khan and team had adapted the story around a more popular Indian sport, it might have opened the door to unnecessary technical scrutiny.
Look closely, and you’ll notice Prasanna keeps the actual game time minimal. Most of the action happens off the court—during training sessions, struggles, and small breakthroughs. And while Gulshan is supposed to be teaching the players, it’s clear that with each passing day, he’s the one learning the most.
We’ll leave the comparisons to those who’ve seen the original Spanish film. Khan and team have their hearts in the right place—the message is important, the intent is noble, and the writing has its moments. But the screenplay and overall execution don’t manage to hold your attention consistently.
At 158 minutes, the film starts to feel stretched, adding to the viewer’s frustration. Much of the action feels staged, as if the actors are just going through the motions, and the emotional connection only comes through in parts. That’s surprising, especially from an Aamir Khan film—he’s known for delivering stories rich in emotional depth and quality.
In the promotions, Khan boldly said Sitaare Zameen Par is a better film than Taare Zameen Par. Even the most devoted Aamir Khan fan might take that with a pinch of salt.
R.S. Prasanna is a well-regarded name in the South and made his Bollywood debut with Shubh Mangal Saavdhan (2017), a remake of his Tamil film Kalyana Samayal Saadham (2013). Honestly, we found Shubh Mangal Saavdhan a bit overrated, so Sitaare Zameen Par landing in Prasanna’s lap was unexpected—but the average direction here isn’t all that surprising.
Interestingly, the original Spanish film runs for 124 minutes, while the Bollywood version stretches it by another 34—a choice that reflects the typical storytelling style often seen in Southern cinema, but one that tests the patience of the Hindi audience.
Acting
Buzz is that the makers followed a horses for courses approach while casting their Sitaare—each role tailored to the performer. Ashish Pendse as Sunil, Aayush Bhansali as Lotus, and Rishi Shahani as Sharma Ji are genuinely endearing on screen.
One standout talent who deserves a special mention is Gopikrishnan Verma, who plays Guddu—a big guy terrified of water who hasn’t bathed in years. Naturally, Gulshan keeps his distance at first. Bath or no bath, Guddu represents many who are marginalized not just because of Down syndrome, but also because of social stigma.
Then there’s Golu, played by Simran Mangeshkar, who confidently reminds her coach—and all of us—that they’re not here to beat anyone, but to compete. Isn’t that what real sportsmanship being about?
Some of the Sitaare, like Naman Misra, might not immediately strike you as one—but maybe that says more about our own ignorance. Working with such a cast comes with challenges, and credit to the makers for choosing to go with these natural talents.
Taare Zameen Par had its share of emotional moments, but Aamir Khan’s take on such subjects has always aimed to inspire and entertain. Sitaare Zameen Par follows that same spirit. It doesn’t pity its special talents—instead, it gently urges us to embrace and accept them for who they are.
Khan was a delight as Ram Shankar Nikumbh and hilarious as Shakti Kumar in Secret Superstar (2017). But what do we make of Gulshan Arora?
He’s a bit like Red from Angry Birds—short-tempered and defensive. Growing up in Delhi, he carries a few regional stereotypes. And when someone calls him thingu (shorty), he’s clearly not amused. That’s when his mother, played by Dolly Ahluwalia, steps in with a sharp line: “That’s how someone feels when you call them mad.”
With Khan himself being on the shorter side, you sense he relates to the thingu jibes. A 5-foot-6-man coaching basketball might sound unlikely—but that’s the magic of cinema. It dares you to dream.
With two back-to-back flops, constant trolling, controversies, and personal struggles, Aamir Khan has clearly had a lot on his mind. Maybe that’s why he chose to tap into his angrier side. We saw flashes of it in those sharp and funny Dream XI ads, and Gulshan Arora feels like an extension of that persona.
This character might have offered him some catharsis, but surprisingly, Khan falls short here. He seems restless, almost in a rush to deliver his lines, and the performance feels scattered—like he’s trying too hard. He’s good, though, in the final act when he bids a teary goodbye to his players. No one can question his intent or sincerity, but this time, the effort just doesn’t come together convincingly.
Motherhood kept her away from films for a good while, but Genelia Deshmukh is making a steady comeback. She plays Sunita, the estranged wife of Gulshan—a couple drifting apart mainly because of his fear of becoming a father. Deshmukh starts off a bit rusty but finds her rhythm in the second half. That said, the writer and director don’t make the most of her screen time, which feels underused and uneven.
Despite their limited screen time, Dolly Ahluwalia and Brijendra Kala have little to complain about when it comes to their portrayal. Preeto (Ahluwalia) raised Gulshan single-handedly, while Daulat ji (Kala) worked as their cook. As expected, the two end up as a couple—much to Gulshan’s annoyance. Divy Nidhi Sharma and R.S. Prasanna handle this tricky subplot well, delivering both surprise and humor while keeping the tone light.
The most consistent performer here is the underrated Gurpal Singh, who plays Kartar—the manager of the sports facility for the special talents. Kartar brings a quiet wisdom to the film, and more importantly, to our protagonist, Gulshan. Rattled by his early experience with the team, Gulshan vents his frustration to Kartar, who simply tells him, “Sabka apna apna normal hai.”
Kartar’s most inspiring words are about how, in a normal household, it ages once the children grow up, move out, and find their own lives. But in their (sitaare) homes, childhood never leaves.
A veteran of life himself, a character like Kartar seems to come naturally to Gurpal Singh.
Music / Technical Aspects
Apart from being a great film, Taare Zameen Par was also much loved for its endearing music. While Shankar-Ehsaan-Loy have returned for Sitaare Zameen Par, they haven’t quite managed to recreate the same magic. That said, the end credits track is a fun listen.
Given the plot, most scenes are conversational and set in humble surroundings, leaving little scope for the cinematographer or production designer to experiment.
Final Word
Much like Taare Zameen Par, Sitaare Zameen Par is also a humbling experience. What it needed, though, was a more engaging, tighter screenplay and a vintage Aamir Khan. No doubt about Khan and director R.S. Prasanna’s noble intentions, but the social sports comedy just doesn’t connect emotionally the way Taare Zameen Par (2007) did. Well, these are our humble thoughts, and it’s natural that many may think otherwise. But sabka apna apna viewpoint hai.
Watch the video review below.