Paa

Paa-wonderful film.
This is Amitabh Bachchan’s Opus majus. He has already made a special place, very special place in our cinema by having scripts written around a man who is past his sixty. Today he can hang his boots not with just the satisfaction that he has made his quota of tons of money (or enough for a few others) but also for having his best. Every bollywood star first works to create an image of his own. Latter this image eats into the actor. The actor shrinks proportionately to the growth of the image of the star. Most often, this is a choice that the artist makes and lives with. Cultivated and treasured, the image is larger than the persona. Sooner than later the star completely consumes the artist. So is it with Bachchan. In this context Paa comes as a whiff of fresh air. It is thus wonderfully refreshing to see him overcome his cultivated image. Completely stripped of all the props and trappings that made him the super star : the brood, the sophistication, the anger, the baritone, are all not hidden but buried in the immensely likable 80 year old looking teenager Aura. He lives every moment of the script and ensures that the film does not go over board with tears. In the final moments it sure touches your heart but on the way to the climax, he ensures that you enjoy the character and his wit.
Vidya Balan is not just awesome but in the pre interval script effortlessly and with class reaches out to you like no contemporary actress – save Dimple could have. This is truly a compelling performance and a reiteration that our cinema will continue to part with millions without making the difference between the wheat and chaff. Porcelain vulnerability and internal strength make a classic combination. Take your hat off but slowly – even that may hurt here. As an interpretation, this is one that should stand alongside some of the best. It is a reminder that art is about subtlety. It is about depth. It is also about reaching within, to reach beyond. For an actress who has for long attracted flak for her sense f dress, she turns out gorgeous and her dress designer has got her a wonderful wardrobe of cottons. As a single mother who not only has the trauma of a child with a fatal genetic disorder, but a past catching up her she brings great credibility and respectability to the role. This far, it is truly her best film.
Abhishek Bachchan yet again points out that he is best doing challenging roles. It is good to see him in roles outside of the clichéd. He plays the new generation politician, trained in management and who is focused to ensure that the electorate and does it with sincerity. There are some who believe that the script needlessly meanders into politics etc. I beg to differ. Director Balik obviously moves a little away from the main narrative to ensure some balance and space for the audience. Abhishek thus carries the onus of having to keep interest in the goings on and this he does with great success .

Technically if the stars- sorry the actors, add great credibility, the technical support is just as good. Take Illayaraja”s musical score. It has class and concern written all over. Take for instance the brilliant cinematography of Sriram and you realise that the team has truly invested its soul into the film

Paa is a wonderfully scripted film of a differently placed person. It is neither a sympathy seeking nor a sermon giving indulgence. In contrast, it is an attempt (very successful one at that!) at telling a simple tale of a victim of progeria – a genetic disorder. Auro grows up and lives with his single parent Vidya (Vidya Balan), a practising gynaecologist and his grandma Bum (Arundhati Naag). He goes to a school, where children are normal and not vicious as ever so often portrayed in our cinema. The school and his friends specially Vishnu (Pratik Katare) deal with him in a near normal way. The Chief Guest at a school function Amol Atre (Abhishek Bachchan) takes a liking for him. Auro wants to see the Rashtrapathi Bhavan in the Capital. Amol makes the promise, but forgets about it, in the midst of his life as a politician fighting for better living conditions of his electorate.
Push back a little and Vidya a student at Oxford meets up with Amol a management student. They begin to see each other. Vidya becomes pregnant. When Amol perceives the arrival of the stork as a career hindrance, she walks out of the relationship. She takes up the challenge of rearing the progeria affected child without Amol. She does not want to be a hiccup to the political dreams of Amol.. With dignity in tact she just disappears from his life ( a watershed role in our cinema of a self respecting woman) No tears, no wailing no complaints. She simply moves on. Tragedy shadows her in the form of the son being affected by progeria. She fights it wonderfully. She is often tempted to tell her son that Amol is his father. Amol and Auro spend a day together in Delhi and return. A chanced reference to the expression: Bastard, accelerates the coming together of the parents in a smooth finish.

Watch the film for Bachchan. Amazing. Even by his standards this is truly a riveting performance. Stripped completely of his mannerisms of decades, he reaches out. He has been completely ‘deamitabhised’ and from there he delivers. It is a stand out performance and something that is to be seen in the context of Bollywood cinema where nothing of this kind is to be seen any where near abouts.
Finally the film is truly a Director’s achievement. From its conception to its execution, you can see the sensitivity. The tragic tale appeals more than gnaws. Do not miss the smart one liners and repartee and you will understand that you are seeing a truly class film- a rare experience. Those who thought that Cheeni Kum was a good film, would enjoy this even better. Paa in a context is more Maa thanks largely for Vidya Balan.
It is not a film you must see. It is a film you must see again.
L.Ravichander.