This Nawazuddin starrer in the beginning looks like an euphemistic portrayal of tawdry events drawn together. Initially, the movie looks like marvelous pieces of Lego taken together so as to form an absurd looking flimsy tower, but as it proceeds it goes on to become quite sturdy in foundation and statuesque in nature. The ironical thing about this drama is that the exemplary achievement of the entire flick lies in displaying of mundanity of sub urban life.
The movie starts with an unrequired hospitalization of Kamal (Irfan Khan) who is madly in love with Sandhya (Shweta Tripathi) along with slight insight in the character of Mintu (Mohd Samad) who is a small town boy with illusionary notions of life induced by his own innocence and less exposure to outside world. The amusing thing about Mintu is his super confidence in whatever he believes in. Kamal is the type of village boy who prefers to live in ignorance to overcome his own insecurities and thus, is ready to accept everything that Mintu has to offer to help him woo Sandhya.
Sandhya and Shyam are in a taboo professor-student-relationship which not only defies the norms of the society they are a part of but, additional to that is the consideration of the fact that Sandhya is a tenth grader and Shyam is her married professor which in turn would land up Shyam in the category of pedophiles. The interesting thing here is that though Shyam’s love for Sandhya cannot be justified but that does not make the character shallow in its roots. The entire claim rests upon the fact that despite he knows he might be committing a criminal offence he cannot stop loving her. In addition to that, one should consider the fact that he does not lure her out of his lust. Nawaz’s character is bold and quite conceited, demanding of an extra marital affair with a fourteen-year-old and at the same time desirous of welfare of his marriage with Sunita and his self-proclaimed respect in the society.
Sandhya’s love for Shyam on other hand could be justified as an outcome of relocating to a new place and thus lacking friends or a confidant. She is also an adolescent child without a mother and her father does not take interest in her life largely, which is considerable enough reason to have fallen prey to someone older who can take care of her and love her at the same time.
The movie contains a character named Shaktimaan, which was unrequired but surely does not take anything away from the script. Not having Shaktimaan would not have affected the storyline of the movie but having it adds a tang of theatre in the movie. It significantly displays the ideology of dramatization on supplementary dialogues that can help lightweight the seriousness of the plot.
As much as one would want to watch the film for Nawazuddin’s expected excellent performance, the other actors in the film left no stone unturned to amaze you. Mohd Samad as Mintu brought vivacity on the screen, which was essential to soothe the solemnity of the subject. Irfan Khan as Kamal had the proper blend of excitement and disappointment on his countenance according to the situation and was fun to watch while Kamal and Mintu planned their antics.
As usual, Nawazuddin’s naturalistic approach towards his art has been maintained in the film and the beauty lies in his sudden change of his gestures and his slight diversions from the in-movie-conversations while delivering his dialogues. Shweta Tripathi did a great job with her sense of adaptation of a fourteen-year-old village girl who is afraid of her father but ignorantly courageous in her unconventional desires.
The peculiar thing about the screenplay of the movie is that it introduces all the major characters in the movie within the first five minutes of screen time and slowly goes on to provide insights about them all along the way until the very last second. However, the ending of the movie seems a little unmethodical, but it does not take away the wonderment of the previous ninety minutes.
I am sure eating lots of Egg Biriyani served with Korma and Raita with this movie.