TE3N – A Review

Ribhu Dasgupta directs Amitabh Bachchan, Nawazuddin Siddiqui and Vidya Balan in the mystery thriller Te3n. With talent like this and the executive producer stewardship of Sujoy Ghosh who in my opinion directed Bollywood’s best thriller Kahaani, this had me excited.

 

The opening sequence had me sit up and take notice. What the hell was going on, Amitabh choking on a garbage bag, Siddiqui driving past and crashing – this was going to be dark and twisted and I was going to love it. Sadly things start to fizzle out after the initial sizzle with only an occasional sputter of genuine surprise.

The story follows Amitabh’s John who is pursuing the course of justice for his dead granddaughter who was kidnapped 8 years ago. He visits the police station every day to find out of there has been any progress made on the case. With no new leads Vidya Balan sends him away compassionately each day, urging him to find closure and spend time with his beautiful wife. Cue the wife – a nag of the first order. You can understand why John would want to seek solace in the police station each day. John also reaches out to Father Martin who used to be inspector Martin played by Nawazuddin Siddiqui. We don’t really get an insight into why he switches the uniform. Not unlike Irrfan Khan who is a fine actor who seems to be turning into  a victim of his own hype I am beginning to tire of Siddiqui’s overly self-assured acting. This performance is a phone-in and especially the second half when he and Vidya deliver dialogue like they are camera blocking and rehearsing scenes without any real conviction.

When it comes to mysteries and thrillers, coincidence is the crutch of the lazy and Dasgupta and screen writers Bijesh Jayrajan and Suresh Nair rely too much on coincidence. The first one when Amitabh finds a needle in a haystack shopping for fish and then when another character suddenly remembers a small but significant detail when Amitabh is fixing his scooter’s spark plug. The writing which seems to hold promise in the first half loses all steam in the second half where important plot details are discussed as afterthoughts. The total disregard to logic and law is baffling too. Amitabh breaks and enters many a houses to find answers and curiously enough after catching one of the “suspects” he takes him along for a tram ride through Kolkata and does the interrogation on it!

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Disappointments aside what lifts the movie above being abjectly terrible is the grand old man of Bollywood. Amitabh Bachchan defies the law of averages and keeps getting better with every progressing movie. You feel the burden the last 8 years have taken on him, his tired eyes, slightly confused expression, and the gape mouthed blank stare, he is brilliant. His vulnerability moves you, his resolve inspires you. Every time he is on the screen you forget the gaping plot holes and are focused on his craft. The second half suffers with a lesser screen time for Amitabh. The twist just before the interval and how the story manages to sort itself out towards a semi-logical conclusion is commendable but only because Amitabh keeps you interested.

 

The music by Clinton Cerejo and the vocals by Amitabh make it an enjoyable accompaniment to Tushar Kanti Ray’s camerawork who frames the crumbling Kolkata beautifully.

 

Adapted from Korean film Montages the choice of movie’s name is the least of its baffling choices. A half-hearted attempt at the second half and haphazard screenplay stop this one short of being a fantastic movie. Watch it for a mildly amusing story and for Amitabh and continue to marvel at how after 5 decades in the film industry he never ceases to amaze.

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Piku – A Review

Shoojit Sircar directs Amitabh Bachchan, Deepika Padukone and Irrfan Khan in Piku a bitter sweet road trip comedy that reflects on the dysfunctional family dynamics of the Indian families. Juhi Chaturvedi who penned the story and script for Sircar’s glorious Vicky Donor dons the pen once again and the results are just as glorious.

Far too often the films coming out of Bollywood tend to focus on the “humko-sabse-Pyaar-hai”( we love everyone) aspect of  Indian families with larger than life celebrations of everything including the house maid’s. I for the life of me cannot remember any movie trying to portray life with parents as anything other than either completely devotional or an arduous hell. Piku is different.

Amitabh plays Bhashkor Banerjee a Bengali retired widower living in Delhi with his dotting and ever-suffering daughter played by the radiant Deepika Padukone who plays the eponymous Piku. Bhashkor and Piku knock heads everyday over a myriad of his ailments, sometimes it is his imaginary Blood pressure and most times it is about his incessant reporting on the movements of his bowels or the lack there off. While Piku is successful and quite desirable it is her 70-year old child Bhashkor who keeps getting in her way of any serious romantic relationship. Vying for her attention are her business partner cum friend-with-benefit Syed and the owner of the taxi company whose drivers Piku traumatizes on a daily basis, Rana played by Irrfan.

When news comes from Kolkata that builders want to buy their ancestral home and tear it down to build an apartment building, they embark on a 1500 Km long road trip armed with half their house and Bhashkor’s port-a-potty. Rana is the first guy who does not run away at the thought of having to deal with the over-bearing Bhashkor and it gives Piku the courage to speak her mind as well.

The strength of the movie lies in Juhi Chaturvedi’s script. Every aspect of a familial life which seems so mundane is given a theatrical flair and yet comes off as being natural and believable. The supporting cast of Moushumi Chatterjee as Piku’s maternal aunt and Raghubir Yadav (of Mungerilal fame) as Dr. Srivashtava are fleshed out so brilliantly that it never feels contrived. They are given as much to do as Bhashkor or Piku and in some instance even more so. The first half is crackling with energy and it only slightly fizzles out in the second half. I wish they had turned the dial up on the histrionics a little bit more in the second half and the editing in the second half been a little crisper. But it is Sircar’s abilities to tackle the novae India’s bold-realities without too much of a song and dance. with Vicky Donor he tackled sperm donation, IVF and life-in relations and with Piku he takes on Friends with benefits without much of a preamble or hysteria for such nuances I forgive Sircar the slight slacking of pace in the second half.

Deepika acts with such confidence that it is no wonder that she is the ruling queen of Bollywood. With every movie she seems to be getting stronger and stronger, choosing a wide variety of roles that truly allow her to sink her teeth in. Amitabh is a true master of his craft as Bhashkor. He is senile and cynical at the same time witty and sharp. He lends a softness to his tough exterior when on his dead wife’s birthday while criticizing how she gave up her entire persona to serve him he is chided by Piku and her aunt he reveals he still loves her and that is why is wearing the kurta his wife gave him many years ago and then he starts with his barbs again. A well written character as befits a legend of his stature. Irrfan Khan has a small but a very important role and he is a consummate professional. His handling of his longing glances at Piku and the ability to admonish and beguile Bhashkor Da are equally fascinating.

Kamaljeet Negi who with Madras Cafe gave me a total recall of Full Metal Alchemist handles the camera just as deftly here. His work here is more akin to Vicky Donor where he romances the everyday Delhi and Kolkata. A Special mention to Veera Kumar who has done the costumes for the film, her styling of Deepika is so quintessentially Arty-Bengali-in-Delhi/Mumbai that it is perfect and adds another layer of realness to the ongoings.

If English Vinglish was the best homage to the Indian Mothers then Piku serves as a quirky take on Indian Fathers. From personal and anecdotal experience it does seem that the movement of the bowels is as great an obsession for the Indian fathers as was the movement of the stars for the ancient Aztec civilizations. Watch this movie for a fantastic and genuinely funny script and outstanding acting from all its leads. Watch it for Amitabh Bachchan whose transition from Angry Young Man of the 80s to the Angry Old Man of the 21st Century has been the greatest journey of any living actor.