Tag Archives: Neena Gupta

Movie Review: Panga (2020)

3.5 Stars (out of 4)

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Even with only a few feature films under her belt, writer-director Ashwiny Iyer Tiwari has proven herself one of the most skilled makers of feel-good films out there. Her latest, Panga, follows the everyday struggles of a sweet family whose matriarch returns to the athletic career she left to raise her child.

Retiring from India’s national kabbadi team at age twenty-five wasn’t Jaya’s (Kangana Ranaut) plan when she found out she was pregnant. She had the full support of her husband Prashant (Jassi Gill) to resume her captaincy as soon as she was fit to do so. But when their son Adi was born premature and with a number of ailments, Jaya put all of her focus on raising her little boy.

Seven years later, Adi (Yagya Bhasin) is mostly fit and increasingly independent. Prashant tells his son about the life Jaya had before she became a mom — a history that Jaya has evidently never shared with the boy. Understanding what Jaya sacrificed for the family and excited by the prospect of having a professional athlete for a mother, Adi convinces Jaya to try and make a comeback.

Rather than manufacture a bunch of obstacles to put in Jaya’s way, Tiwari and her co-writer Nikhil Mehrotra keep Jaya’s journey realistic while mining the scenario for as much drama as possible. Doing so allows for an insightful examination of gendered divisions of labor within a household. Jaya threw herself fully into being a mom and a homemaker when Adi was born, but she still has a job outside of the house. Kabbadi teams in India are often sponsored by companies like railways, and Jaya kept her job selling train tickets even after her playing career ended.

As capable and helpful as both Prashant and Adi are, the house is still Jaya’s domain. How is she supposed to transfer seven years of accumulated knowledge to Prashant in the days before she heads to training camp? While their lives obviously won’t fall apart if the beds go unmade, it goes to show how we undervalue the effort it takes to make homemaking seem automatic.

Prashant’s promotion to household manager also highlights how removed many fathers are from the social networks that make child-rearing easier. He learns to rely on his neighbor and his cranky mother-in-law (played by Neena Gupta). He asks to be invited into the WhatsApp group for moms at Adi’s school.

A theme Tiwari introduced in her first feature, Nil Battey Sannata, and revisits in Panga is that of children coming to view their parents as individuals, not just their caretakers. Adi is mature enough to understand that playing kabbadi makes his mother happy, and that her happiness will require some inconvenience on his part. Yet he’s not so mature that he’s above throwing a tantrum when his dad screws up his makeup for the talent show or sulking when his mom has to sit on the bench during a game. It’s solid character writing.

What the story wants us to appreciate more than anything is that this family is nice. They are helpful, quick with a joke, and willing to make sacrifices for each other. They have supportive friends, especially Jaya’s former teammate Meenu (Richa Chadda) and her new teammate Nisha (Megha Burman). These strong bonds reinforce the feeling that this is a family that deserves happiness. The acting across the board is very good, with little Yagya Bhasin providing some great laughs.

Panga‘s kabbadi scenes are quite fun, emphasizing the teamwork required for success without feeling preachy. Selfishly, I would have appreciated a scene where Jaya explains the sport’s rules to Adi, but there’s more than enough context provided for kabbadi newbies like myself to understand the tension during the matches. This is a decent starter movie for Bollywood newcomers — and anyone in need of a cinematic pick-me-up.

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Movie Review: Music Teacher (2019)

3 Stars (out of 4)

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Music Teacher is a melancholy exploration of the consequences of blowing a once-in-a-lifetime opportunity.

Beni (Manav Kaul) is a middle-aged vocal instructor and part-time lounge singer in Shimla, where he lives with his mother Madhavi (Neena Gupta) and younger sister Urmi (Niharika Lyra Dutt). He dreamed of being a playback singer for the movies, but his father’s death called him back from Mumbai years ago, before he could land any film gigs.

Adding salt to Beni’s still-open wound is the success of one of his former students, Jyotsna (Amrita Bagchi), who herself is now a popular playback singer. Beni must confront his jealousy and anger toward her when Jyotsna returns to Shimla for a concert after eight years in Bollywood.

But is the story Beni’s been telling himself about Jyotsna’s fame and their falling out true, or does he view the past through a lens that paints her as the villain (corroborated by his mother’s hostility toward her)? He reexamines the narrative as he tells it to his new neighbor, Geeta (Divya Dutta), a lonely wife who’s been ditched by her husband and banished to Shimla to care for her ailing father-in-law.

The present and past timelines in Music Teacher are differentiated by the color of Beni’s sideburns: black in the past, grey in the present. It’s subtle and easy to miss at first. Beni himself was more upbeat when he first meet Jyotsna, as opposed to the terse curmudgeon he’s become since she left. Their relationship was about more than music, but both had different dreams for the future.

Beni’s challenge is to realize how his own actions led him to his present unhappy state, and then either chart a new course or find a way to accept things the way they are. He’s spent his whole life waiting for his big break, thinking it could only come in the form of a show business career. He never considered that loving Jyotsna could be a life-changing opportunity in its own right.

Kaul plays Beni as more sad than angry, although the sense of having been wronged is what keeps him in stasis. Kaul convincingly portrays Beni as a decent guy who blew his big chance and never learned how to cope with it.

Bagchi is touching as Jyotsna, both in flashbacks as a young woman desperate for love and in an impactful present-day sequence in which she hints that the lessons she’s learned have been hard won.

While Jyotsna embodies all of Beni’s opportunities lost, Dutta’s Geeta represents the idea of accepting life’s hardships and finding pleasure where one can. Were Beni further along in his emotional journey, maybe he and Geeta could be happy together, damaged but at least not alone.

Though Music Teacher‘s story focuses on Beni’s growth, there’s an interesting theme about the lack of control women have over their own lives. Geeta is the most obvious example, fulfilling the edicts of a husband who lives in a distant city and no longer loves her. But Beni himself has undue influence over the lives of the women in his family. He selects a groom for his sister Urmi, and while we can assume that he wouldn’t make her marry against her will, he clearly has veto power when it comes to groom choice. Beni’s insistence forces Jyotsna to make a choice she doesn’t want to, and the repercussions destroy their relationship.

The men in Music Teacher don’t deserve the power they have. Geeta’s husband — who doesn’t even appear onscreen — is a bad guy for ditching her and offloading the care of his sick father onto her. Beni is guilty of myopic self-interest and a tragic lack of foresight, and loneliness is the consequence. Music Teacher is a big improvement over writer-director Sarthak Dasgupta’s first film, 2007’s The Great Indian Butterfly. There’s a lot to relate to and appreciate about this cautionary tale.

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Movie Review: Veere Di Wedding (2018)

3.5 Stars (out of 4)

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Veere Di Wedding (“Friend’s Wedding“) released to higher expectations than usually precede Bollywood buddy comedies, yet its four female leads rose to the challenge, turning out a warm, relatable, and very funny movie.

Well, relatable if you overlook how obscenely rich the characters are, driving around in cars that cost as much as a house (at least here in the Midwest). The only speaking character who isn’t wealthy is a maid who appears in one scene, crying after being beaten by her abusive husband. Her wounds are addressed in a couple of lines before she’s forced to participate in the excitement of one of the rich friends’ upcoming nuptials. It’s one of the film’s few off moments.

The friend getting married is Kalindi (Kareena Kapoor Khan), one of a quartet of lifelong buds that includes stuffy lawyer Avni (Sonam Kapoor Ahuja), stay-at-home mom Meera (Shikha Talsania), and drunkard Sakshi (Swara Bhaskar). Reuniting in Delhi for the wedding gives the women a chance to cut loose, but also resurfaces buried conflicts, primarily between the adult children and their parents.

There isn’t really a villain in Veere Di Wedding. The conflict is driven by complicated family dynamics, a boundless well that keeps the plot moving and gives everyone in the audience something to identify with. Kalindi became estranged from her father (Anjum Rajabali) following her mother’s death. Avni’s mom (Neena Gupta) is desperate for her daughter to wed. Meera married a white man named John (Edward Sonnenblick) against her dad’s wishes. There’s tension in Sakshi’s household over demise of her short-lived marriage.

The family of Kalindi’s fiance, Rishabh Malhotra (Sumeet Vyas), is the most colorful source of drama, often literally so. Eager to fill the void left by Kalindi’s mother, Rishabh’s dad (Manoj Pahwa), mom (Ayesha Raza), and aunt (Alka Kaushal) take over the wedding planning, their tacky, kaleidoscopic taste in decor and attire sending Kalindi into a daze. Kapoor Khan’s glazed expressions as they parade garish garment choices in front of her are hilarious.

Yet Veere Di Wedding is careful not to make too much fun of the Malhotra family. Kalindi herself says that she knows how important the pomp and circumstance are to Rishabh’s family, rejecting Rishabh’s offer to tell his family to back off.

That’s what’s amazing about this movie: the characters are so nice. The four friends will do anything for one another. Rishabh and Meera’s husband John are loyal and supportive partners, as are Kalindi’s uncle Cookie (Vivek Mushran) and his boyfriend Keshav (Sukesh Arora). Conflict is borne from hurt feelings and stubborn grudges, not from any inherent malice. The resolution to a subplot involving Kalindi’s well-intentioned stepmother Paromita (Ekavali Khanna) is especially touching.

That good nature makes Veere Di Wedding a joy to watch. Hype over the film’s bawdy language and (tame) masturbation scene is overblown. It’s important that female movie characters be given as wide a range to inhabit as male characters, and Veere Di Wedding does so in an uplifting, unthreatening way. It’s a welcome change to see topics such as sexual compatibility and the changes that happen to a woman’s body following childbirth discussed from a female perspective in a mainstream Bollywood film. Farah Khan’s choreography of the song “Tareefan” — in which white men are treated as eye candy instead of white women — is noteworthy, too.

What gives Veere Di Wedding lasting appeal beyond its present cultural significance is that it really is charming, thanks to the performances by the lead quartet. Kalindi’s bewilderment in the face of her in-laws stands in contrast to Avni’s stuffiness, which is at odds with Sakshi’s constant insobriety. Even maternal Meera goes wild on the dance floor. Kapoor Khan, Kapoor Ahuja, Bhaskar, and Talsania each bring something different to the table, and their efforts combine to make a movie that’s a real treat.

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