Back to back Amitabh portrayals of a
septuagenarian makes for interesting reading in the context that Ashok Kumar
apart there is hardly a mainstream lead actor who still has films written for
him. Shoojit Sarcar (Vicky donor and Madras Café) ensures that he is not
treading familiar territory and surely has something not just different but
interesting to savour.
Potty humour can put you off. Not this time though. The entire exercise by the
film maker dealing with shit and constipation and consistently reverting to the
rear and the stomach syndrome is weaved however with a touch of class. The
script itself manoeuvres a unchartered territory. It is film filled with
moments and one liners that do not hurt your sensitivity and ensure that your
funny bone is tickled sufficiently. It eschews the predictable, formulistic
treatment both in presenting relationships and viewing situations.
The story line is simple in fact almost non-existent. It deals with a
hypochondriac septuagenarian Bhaskor Banerjee (Amitabh) who not just refuses to
see matrimony in the life of his daughter Pikku (Deepika Padukone) but brazenly
and selfishly ensures she remains a spinster. Pikku engages her official travel
agent on a road trip from Delhi to Kolkotta. Driving them on the road trip is
the owner of the taxi service Rana Chaudary (Irrfan Khan). Even the irritant
daughter and the moody father keep their little squabbles. Tossed between the
twosome is the victim of time and circumstances Rana. How he swaggers between
the two is the script.
The film is filled with amazing moments: take the tale when the father and
daughter find a knife in the boot of the car and a small little fight ensues as
to who should throw it out; the episode when Bhaskor wakes up in the journey
and notices that Pikku is driving the car and would insist that Rana should be
back on the wheels; the intrusive efficacy of the caring aunt (Moushmi
Chaterjee); the moments when Bhaskor sees reason in the suggestions that come
albeit tongue in cheek from Rana as antidotes to constipation and you know that
the film maker works on niceties and hates to enlarge the little niceties to
dramatic statements.
Specific mention must be made about the fluidity of the script. Juhi Chaturvedi
ensures that this road film does not exhaust you more so since humour in itself
can be exhausting. Kamaljeet Negi scripts the tale with his camera. From the
camera you know that they have moved from Delhi to Benares and from Benares to
Hoogly. A fine statement in restraint and in keeping with the larger canvas so
subltly and artistly carved out by Shoojit Sorcar.
The ever dependent Irfan Khan shows why he is such a reliable actor. He is
constantly on a leash with his emotions and ensures that at no point in time he
over scores the others in the frame. Big B is back to his King Lear days and
thankfully revisits his form in the post Shamitabh outing. He is amazing.
Notice how unabashedly he looks into the eye to make the most atrocious
statements about the challenges at the potty and how he takes the mortal
questions of life and death with spirit. The film however belongs to Deepika
Padukone. The film singularly announces her arrival as an actor. Notice how she
can cry without weeping, how she can hold on to her dignity even within the
framework of a commercial film and navigating for a good part the role that a
typical Hindi film heroine is called upon to perform. She plays an important
role that in the context of our cinema can well be a water shed. She does it
without much ado and yet makes an impact. Hopefully there is less of Happy New
Year and more of this variety for her.
The bad stomach notwithstanding, this is a journey worth taking. Do not forget
to pack your funny bone to the theatre this weekend. You do not get an
opportunity too often to laugh in a film without having to laugh at some one or
something.
Rating : 3.5 stars.
– : hardly anything.
+ : Crew / cast and treatment.
L. Ravichander.