May 20, 2015 01:10 AM
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Arjun Kapoor reportedly said: you know a film is special when you sleep thinking about it and when you wake up its still making you smile “. Yes that line reads form the ad of the film but describes the experience for me so aptly.
I saw the late evening show, ha dinner and when to sleep and woke up remembering it and still felling nice. Why? Was it because it is a brilliantly made film? Because the direction is plain simple story telling without any OTT? Because the acting is subtle, shades and again no OTT? Because the script and the character s are real time and not entirely fictional? Correct answer? All of the above.
Went to see this movie for the cast and the director with only a smattering of an idea about the extremely storyline and in going there passed by a set of people with their fingers clutching their noses at the “toilet humour”….So either I have a much thicker skin that people think or that the jokes and the situations were so real life that I had a hearty laugh at them.
Deepika gets a wonderful opportunity to showcase her talent under the able hands of Shoojit Sircar and grabs it with both hands – very quickly as the fast talking Delhi domiciled Bengali who is clearly irritated with her father’s health tantrums but loves him deeply enough to take them all in her stride. She keeps the emotion on display carefully avoiding the slippery slope to OTT as Bengali characters are sometimes portrayed and I think that is pure class acting there.
Irrfan is the only actor in Bollywood after the legendary Nasseruddin Shah to pull off an unshaven uncombed look that doesn’t distract from his performance and is totally in character.
The legendary Moushumi Chatterjee excels in a wrote written for her style of performance vivacious and full of verve
Jisshu brings in the understated charm to his character and in a very small part leaves a memory
AB is well…AB. He effortlessly slips into a role that is so different from the ones we have seen him do lately and shows us what it takes to be a master of the craft of storytelling. His scenes in the journey to Calcutta, the cycling scenes and his give the movie its re-watch ability.
The story could be well happening in your home as you read this or at your friend’s or family or neighbor’s…but it’s there and it has been so deftly woven into the screenplay that you feel you are not just watching the characters play their part, you live with them, you share their emotions, you laugh long and hard at their jokes and the intermission just seems a force-on.
The music …well I don’t know what to say about this part…Okay so while it is good when I am watching the movie and everything seems contextual and correct and plays its part in carrying the story forward it didn’t somehow stick in my head, maybe there were no: catchy tunes( the stuff that musical earworms are made of) . Maybe none were needed….but discerning music lovers might have noticed the ukulele somewhere…….
Shoojit Sircar in some places I know has been described as the Hrishikesh Mukherjee of his generation….well, one would need to see more body of his work to comment on that but he if he goes on like this then he has a fighting chance. He has once again taken a rather touchy topic and put it in your face with all subtlety and wit at his command.
Go see this movie for the flawless dialogue delivery, the beautiful characterization, love without mushiness as the icing on a well made cake.
Before you eat that cake remember that “Motion is the Only Emotion” Ha Ha Ha Ha
P.S. Dunno why the censors missed it but this is NOT a movie to be seen with kids below 18. Only has a few dialogues and characterisation which make sense to us as adults but can cause thoughts in adolescents that will lead parents to have discussions with them around the other untouchable topic in India - sex.
