My mother, her brother, my wife and I watched "Piku", the Hindi movie on the morning of 17-May-15. This blog post is my review of the movie.
I think I will begin with the major shortcoming of the movie, as I see it. In a sentence: there is not much of a story in the movie.
Amitabh Bachchan plays Bhashkor Bannerjee, a 70-year old man suffering from constipation. Deepika Padukone acts as his daughter, the eponymous Piku. Piku is devoted to her father and is single. Balendra Singh is Budhan, the caretaker for the family and Bhashkor's personal attendant, in particular. They set out on a trip to their home town from Kolkata with the owner of a taxi company Rana Chaudhary, played by Irrfan Khan. Essentially, the story is about how Piku's life revolves around her father and his (perceived) ailments and quirks of old age. Just incidentally, Rana is drawn into Bhashkor's struggle to achieve "good motion" and becomes sympathetic to Piku. The sympathy slowly leads to a deeper and broader relationship between the two, over the course of the road trip from New Delhi to Kolkata. Bhashkor passes away peacefully in Kolkata. The movie ends with Piku telling Rana that her father has prepared her for an independent (and single) life. For those of us used to a movie with a climax full of action or with a sense of finality, this movie does not provide it.
In my view, the climax is ambiguous, since it shows Piku playing badminton with Rana and asking her maid to come from the next day. Some time earlier, in the movie, she settles Rana's dues and he playfully asks if it covers the trip to Ganga Ghat in Kolkata that he made with her. Ultimately, the question of whether the relationship between the two is a romantic one or a platonic one lies unanswered. The ambiguity is delightful though, like a tasty sweet and sour dish ! I remembered the climax of the Kannada film "America America" which also ended similarly.
The lack of a story is the only major shortcoming in the movie, which is outweighed by the positives in it.
To begin with, the performances : it is difficult to say who is better among the three protagonists. Amitabh plays the role of the peevish 70 year old like the proverbial fish taking to water. He brings to life the idiosyncrasies of an old man (or should that be senior citizen, in this age of political correctness ?!), whether it is his obsession with "motion" or his obstinacy. Deepika is amazing as Piku. Her anger with her father and his antics look real. The manner in which she brings out the irritation against the taxi drivers due to her father's behaviour is extremely natural. Irrfan Khan excels as Rana, who is initially put off by the constant topic of constipation between father and daughter but then gradually develops sympathy and admiration towards Piku who selflessly stands by her father. If I were asked to select who is the one single best performer among the three, I think it would be Deepika Padukone but to be fair, it would be ideally both Deepika and Irran in a tie.
The supporting cast is also a delight : Moushumi Chatterjee as Bhaskor's wife's sister, Jisshu Sengupta as Syed Afroze, the common friend of both Piku and Rana and Raghubir Yadav as the indulgent Dr. Srivastava all contribute admirably to the overall atmosphere of a family and character based movie.
One interesting aspect of the movie is the importance of the conversation around the dinner table. Bhashkor and his family argue fervently over the dinner table, which is seen in most middle class homes. Nowadays dinner is a routine affair with some of us watching TV (as I do sometimes !) or it becomes just a silent ritual. On the other hand, with many people in the house, the idea of a communal dinner helps in bringing a bond of togetherness or at least a time and a place where people get to speak and listen. Sometimes, the talk can be overwhelming. So Piku actually requests Rana to be silent on the banks of the river Ganga in Varanasi. The importance of the meal time conversation is something that I recall seeing in Satyajit Ray's "Agantuk" also on television. Perhaps, the tradition is more prevalent in Kolkata, even now, considering that the director is Shoojit Sircar, a Bengali !
Another highlight of the movie is his direction. In a story that deals with characters and the relationships between them, there are scenes of silence that speak volumes about the intensity of feelings. For example, in the family house of Champa Kunj in Kolkata, Bhashkor, his wife's sister and his brother's family are in the midst of an argument when Rana gives Piku a questioning glance. Piku's expression says "Who cares ?!" During the journey also, there are expressions exchanged between Rana and Piku that provide a glimpse of the growing intimacy between the two. Bhashkor's cycle ride across Kolkata on the day before he passes away is also almost poetic in its depiction.
The music by Anupam Roy is full of soul, just like the movie. At home, I am seeing television in high definition due to a "gift" by Tata Sky, our set top box providers. Just yesterday, my wife and I watched "Zindagi na Milegi Doobara" (ZNMD) again. My blog on the movie is at http://fewidlethoughts.blogspot.in/2012/08/review-of-znmd-and-kahaani.html. Like Piku, the movie ZNMD also has a weak storyline, but great photography and music. The song "Udey khwabon ke parinday" in ZNMD is meant for a long drive. In the same manner, "The Journey Song" in Piku is one for the road. The music is first rate, so take a bow Anupam Roy !
Above all, the dialogues are impressive, particularly in the first half of the movie. I heard quite a few peals of laughter in the theater hall on the dialogues by Bhashkor, Piku and Rana. The confrontation between Rana and Bhashkor as they set out from New Delhi to Kolkata, Piku's defence of her father's behaviour and Bhashkor's repartee with his wife's sister played by Moushumi Chatterjee provide ample opportunity for crackling dialogue.
The script also provides solutions for the constipation problem ranging from squatting to drinking boiled tulsi water !
Piku is all about relationships, intimacy and change. The intimacy and relationships are evident between father and daughter, between Bhashkor and his brother and between Syed and Rana, two close friends, but the overarching theme of the movie is the growing intimacy between Piku and Rana.
The third element is the slow embracing of change which is seen in Rana who initially feels that Piku is a hot tempered girl always quarrelling with his taxi drivers. Gradually Rana accepts that she is a caring girl who loves her father despite his faults. Another example of change is how the scene shifts from New Delhi in the first half of the movie to Kolkata in the second half. Bhashkor who is particular about his diet in New Delhi changes at the behest of Rana and eats kachoris and jalebis after going for a 25 km long bicycle ride in Kolkata. To begin with, Piku wants to sell the old house Champa Kunj in Kolkata. Rana opines that one must not lose one's roots. Piku is convinced by his argument and flatly informs the broker that the house is not for sale. This is also an example of a changing mindset. In the final few minutes, Piku tells Rana that if she has learnt something from her father, it is about living independently. The interesting part is that Rana appears to respect the decision. In a sense, this is also a change from the usual "boy marries girl and they live happily ever after" ending usually seen in Hindi movies !
At the end of the movie, I walked out with a light heart. To sum up my conclusion would be that the movie is worth watching, mainly for the direction, the dialogue and the performances of three stars who know what acting is all about.
I think I will begin with the major shortcoming of the movie, as I see it. In a sentence: there is not much of a story in the movie.
Amitabh Bachchan plays Bhashkor Bannerjee, a 70-year old man suffering from constipation. Deepika Padukone acts as his daughter, the eponymous Piku. Piku is devoted to her father and is single. Balendra Singh is Budhan, the caretaker for the family and Bhashkor's personal attendant, in particular. They set out on a trip to their home town from Kolkata with the owner of a taxi company Rana Chaudhary, played by Irrfan Khan. Essentially, the story is about how Piku's life revolves around her father and his (perceived) ailments and quirks of old age. Just incidentally, Rana is drawn into Bhashkor's struggle to achieve "good motion" and becomes sympathetic to Piku. The sympathy slowly leads to a deeper and broader relationship between the two, over the course of the road trip from New Delhi to Kolkata. Bhashkor passes away peacefully in Kolkata. The movie ends with Piku telling Rana that her father has prepared her for an independent (and single) life. For those of us used to a movie with a climax full of action or with a sense of finality, this movie does not provide it.
In my view, the climax is ambiguous, since it shows Piku playing badminton with Rana and asking her maid to come from the next day. Some time earlier, in the movie, she settles Rana's dues and he playfully asks if it covers the trip to Ganga Ghat in Kolkata that he made with her. Ultimately, the question of whether the relationship between the two is a romantic one or a platonic one lies unanswered. The ambiguity is delightful though, like a tasty sweet and sour dish ! I remembered the climax of the Kannada film "America America" which also ended similarly.
The lack of a story is the only major shortcoming in the movie, which is outweighed by the positives in it.
To begin with, the performances : it is difficult to say who is better among the three protagonists. Amitabh plays the role of the peevish 70 year old like the proverbial fish taking to water. He brings to life the idiosyncrasies of an old man (or should that be senior citizen, in this age of political correctness ?!), whether it is his obsession with "motion" or his obstinacy. Deepika is amazing as Piku. Her anger with her father and his antics look real. The manner in which she brings out the irritation against the taxi drivers due to her father's behaviour is extremely natural. Irrfan Khan excels as Rana, who is initially put off by the constant topic of constipation between father and daughter but then gradually develops sympathy and admiration towards Piku who selflessly stands by her father. If I were asked to select who is the one single best performer among the three, I think it would be Deepika Padukone but to be fair, it would be ideally both Deepika and Irran in a tie.
The supporting cast is also a delight : Moushumi Chatterjee as Bhaskor's wife's sister, Jisshu Sengupta as Syed Afroze, the common friend of both Piku and Rana and Raghubir Yadav as the indulgent Dr. Srivastava all contribute admirably to the overall atmosphere of a family and character based movie.
One interesting aspect of the movie is the importance of the conversation around the dinner table. Bhashkor and his family argue fervently over the dinner table, which is seen in most middle class homes. Nowadays dinner is a routine affair with some of us watching TV (as I do sometimes !) or it becomes just a silent ritual. On the other hand, with many people in the house, the idea of a communal dinner helps in bringing a bond of togetherness or at least a time and a place where people get to speak and listen. Sometimes, the talk can be overwhelming. So Piku actually requests Rana to be silent on the banks of the river Ganga in Varanasi. The importance of the meal time conversation is something that I recall seeing in Satyajit Ray's "Agantuk" also on television. Perhaps, the tradition is more prevalent in Kolkata, even now, considering that the director is Shoojit Sircar, a Bengali !
Another highlight of the movie is his direction. In a story that deals with characters and the relationships between them, there are scenes of silence that speak volumes about the intensity of feelings. For example, in the family house of Champa Kunj in Kolkata, Bhashkor, his wife's sister and his brother's family are in the midst of an argument when Rana gives Piku a questioning glance. Piku's expression says "Who cares ?!" During the journey also, there are expressions exchanged between Rana and Piku that provide a glimpse of the growing intimacy between the two. Bhashkor's cycle ride across Kolkata on the day before he passes away is also almost poetic in its depiction.
The music by Anupam Roy is full of soul, just like the movie. At home, I am seeing television in high definition due to a "gift" by Tata Sky, our set top box providers. Just yesterday, my wife and I watched "Zindagi na Milegi Doobara" (ZNMD) again. My blog on the movie is at http://fewidlethoughts.blogspot.in/2012/08/review-of-znmd-and-kahaani.html. Like Piku, the movie ZNMD also has a weak storyline, but great photography and music. The song "Udey khwabon ke parinday" in ZNMD is meant for a long drive. In the same manner, "The Journey Song" in Piku is one for the road. The music is first rate, so take a bow Anupam Roy !
Above all, the dialogues are impressive, particularly in the first half of the movie. I heard quite a few peals of laughter in the theater hall on the dialogues by Bhashkor, Piku and Rana. The confrontation between Rana and Bhashkor as they set out from New Delhi to Kolkata, Piku's defence of her father's behaviour and Bhashkor's repartee with his wife's sister played by Moushumi Chatterjee provide ample opportunity for crackling dialogue.
The script also provides solutions for the constipation problem ranging from squatting to drinking boiled tulsi water !
Piku is all about relationships, intimacy and change. The intimacy and relationships are evident between father and daughter, between Bhashkor and his brother and between Syed and Rana, two close friends, but the overarching theme of the movie is the growing intimacy between Piku and Rana.
The third element is the slow embracing of change which is seen in Rana who initially feels that Piku is a hot tempered girl always quarrelling with his taxi drivers. Gradually Rana accepts that she is a caring girl who loves her father despite his faults. Another example of change is how the scene shifts from New Delhi in the first half of the movie to Kolkata in the second half. Bhashkor who is particular about his diet in New Delhi changes at the behest of Rana and eats kachoris and jalebis after going for a 25 km long bicycle ride in Kolkata. To begin with, Piku wants to sell the old house Champa Kunj in Kolkata. Rana opines that one must not lose one's roots. Piku is convinced by his argument and flatly informs the broker that the house is not for sale. This is also an example of a changing mindset. In the final few minutes, Piku tells Rana that if she has learnt something from her father, it is about living independently. The interesting part is that Rana appears to respect the decision. In a sense, this is also a change from the usual "boy marries girl and they live happily ever after" ending usually seen in Hindi movies !
At the end of the movie, I walked out with a light heart. To sum up my conclusion would be that the movie is worth watching, mainly for the direction, the dialogue and the performances of three stars who know what acting is all about.
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