Kahaani (Movie Review)

This is a great time to be a movie buff. Within a week of Paan Singh Tomar which should incontestably win Irrfan Khan the National award for best actor, comes Kahaani in which Vidya Balan is so flawlessly resplendent that I suspect, the next year’s National award too is already reserved for her. Dirty deeds forgotten.

Playing Vidya Bagchi, an NRI who lands in Kolkata heavily pregnant and immeasurably distressed by the disappearance of her husband, Vidya Balan doesn’t hit a single false note in the entire graph of her character’s fascinating journey.

Kahaani is not an ordinary thrill-a-minute film about a search for a missing person It’s a lot more. Bringing a virgin vitality to the suspense drama Kahaani actually strikes a captivatingly consonant balance between realism in art and the art of courting realism without losing the sheer entertainment quotient of the plot.

From the moment Vidya lands in Kolkata the colour, vibrancy, bustle and jostle that are peculiar to Kolkata, assail our senses. It’s a claustrophobic yet liberating world of intrigue and deception. A pungent flavour of anxiety and stress qualify the narration from Frame 1.

Sujoy Ghosh whose earlier films gave us no clue of the ingenuity that he displays here with such ostensible casualness, cuts the footage with razorsharp economy, leaving no sign of the surgery involved in leaving behind scenes and putting together a tale that pays a homage to Hitchcock even while it tilts its topi to the detective films of Satyajit Ray.

The complexities of metropolitan life emerge in a kind of bridled flurry. Within a few of minutes of Vidya Bagchi’s landing on Kolkata we know her search for her missing husband is not going to be an easy cake-walk. Yes, we will see this spirited woman’s pursuit of the truth to the end.

Sujoy Ghosh crafts a tale of devious dynamics that do not make a song and dance of their cloak-and-dagger intentions. The narrative doesn’t whip up a lather of anxieties.

Stock devices of the suspense genre are here thrown meaningfully into the Hoogly. The relevances and resonances of Vidya’s journey into the dark unrevealed bowel of India’s secret service emerge in illuminating details created in Vidya’s character which add up finally to a jigsaw where not a single piece is out of place.

The end-game shot in an exquisite eruption of Durga Puja’s compelling colours, is so unexpected, it is bound to leave even the most diehard cynics with a sense of satiated suspense.

Indeed, so clever is the writing and so stunning yet convincing the denouement that I was persuaded into wondering, did Sujoy Ghosh filch the material from some unidentifiable source?

While it would be criminal to give away any of the plot details it would be in the scope of permissible praise to say the writing is clearly not meant to strew red herrings in our way. As we go back to the film at the end we see every detail, every twist and turn in the plot was meant to be a coherent pointer to the complete picture.

Ghosh’s masterful strorytelling leaves no room to doubt the existence of a rather unforgiving God who charts a seemingly cruel destiny for the unsuspecting individual.

Vidya’s portrayal of grace under pressure is so measured and skilled, I at times wondered if she was actually watching herself perform from a distance to make sure she doesn’t take her character’s distress into the kingdom of melodrama.

Vidya has splendid support from actors who merge into the Kolkatan conundrum with the seamless inevitability of people who accept extraordinary circumstances as part of life’s ordinary patterns.

Impressive in his own right is Parambrata Chattopadhyay as Vidya’s pillar of support from within an Establishment that insists on throwing her off the track. (By the way, Vidya is never pushed on to the subway track. That’s one of the smaller myths surrounding the film that comes undone…

Wait till the end to see how many of the myths surrounding the pregnant protagonist are demolished). Parambrata plays his gentle character with such tender affection you begin to believe goodness is not an extinct commodity in the Establishment.

Nawazuddin Sidiqqui that brilliant actor from Kabir Khan’s New York and last week’s Paan Singh Tomar, brings a steely-sharp ruthlessness to his investigative officer’s role. In one of Vidya’s best sequences where she quietly tells him to keep his menacing advice to himself, Nawazuddin steps back to let the lady have her moment of glory, unhampered.

Vidya Balan takes centrestage with great skill and restrained pride. Her laughter of unalloyed joy when she bonds with the chai-wallah kid (Ritobroto Mukherjee) and her final breakdown sequence where all the walls dividing her and us the viewers from the terrible truth are broken, bring her close to the cathartic emotions that Shabana Azmi displays.

Vidya displays a rare understanding of her character’s exacerbated emotional and physical state. Luckily for her, her co-actors display no outward or inward signs of insecurity in playing roles that are designed to be supremely supportive.

Veteran Bengali actors unknown to Bollywood such as Saswata Mukherjee as a hired assassin and Kharaj Mukherjee as a kindly podgy cop, fill up the edges of the comprehensive lucid portrait of a woman with a mission, without crowding the canvas.

Kahaani is one of those rare films that can easily lay claims to being a game-changer. And yet the narrative makes no claims. The destiny of the protagonist is charted in a breathless sweep of urgently persuasive episodes that tumble out as though God wrote Vidya Bagchi’s screenplay.

Enthralling, absorbing and engaging the narrative never resorts to italicized emotions to get our attention. We are hooked unconditionally from Scene 1. We surrender to Vidya’s journey. She gives us no choice.

London Paris New York (Movie Review)

If only Siddharth Anand's Anjaana Anjaani was funnier, warmer, more kindered in spirit and less burdened by the responsibility of making the pair look at home on foreign shores, it could have conveyed the pleasure quotient of London Paris New York (LPN).

Indeed denutant writer-director Anu Menon imparts a talcum-freshness into a tale that has only two principal characters. He and She. And what happened Mama, Papa, Chacha, Chachi? Sooraj Barjatya won't like this one bit.

Luckily for Ms Menon the lines that she puts into the mouths of her lead pair simply melt in their mouths. The dialogues that could make or fake a rom-com, seem to work mainly because the actors promptly absorb the words and make them their home.

Unlike other singers-turned-actors who speak their lines in a song-song voice Ali Zafar doesn't sound like a singer when he talks. He is, in fact, a big bonus in this kabhi-sassy-kabhi-glum take on that thing called love. Ali gives just that bit of extra push to the less perky scenes. His ebullience and involvement with the romantic aspect of the script seems sensible, cautious but not over-studied.

Aditi Rao Hydari was star material from the time she stood behind Sonam Kapoor in Delhi 6. Come forward,girl, take a bow as we say a collective wow. Here she comes into her own. This time she has no torrid smooching scenes no tumultuous moment to show what a bitch that thing called love can be. She manages to convey a cool coquettishness which is never stagey or annoying.

Quite a pair, this. Having got them in place Anu Menon glides gently if a little languorously through the 3 cities mentioned in the title creating an arching kinship between her co-stars who look more like pals than lovers. Nikhil(Ali Zafar) and Lalita(Aditi Rao) don't seem like the kind of couple that would spend too much time in bed once they're married. And that suits the audiences' fine.


God knows we've seen enough couples trying to sleep if not sleepwalk through rom-coms. LPN takes the guarded, serene, low-speed lane in the highway of love. The three cities emerge as the true heroes of the plot, thanks in no small measure to veteran cinematographer Sameer Arya who lenses the three cities with the love of someone who's been there and done it all, and not on a tourist visa.

The film's biggest advantage is its casual non-ostentatious calm and easygoing mood. Don't look for specially-written scenes to spotlight the couple's journey into the three phases of their life as they seek to find answers to the conundrum of the heart.

Not too many secrets on the emotion called love are unveiled in this comme ci comme ca rom-com. But the going is never amateurish. Most importantly London Paris New York gives us two new dependable engaging stars.

More than another rom-com, we need those. Desperately.