Tag Archives: Rohini Hattangadi

Movie Review: Meethe Mein Kya Hai (2026)

3 Stars (out of 4)

Watch Meethe Mein Kya Hai on Netflix

Meethe Mein Kya Hai (“What’s for Dessert?“) is a feel-good movie about a feel-bad topic: grief. Writer-director Radhika Bansal makes a promising debut with this charming film about family.

Thirty-five-year-old Jai (Ritwik Bhowmik) is two years removed from his wife Tara’s (Kanikka Kapur) death in a car accident. He’s not doing well. His solution is to sell his home in Delhi and move to the country of Georgia, where he can get a fresh start alone.

Jai plans to skip the family Diwali gathering at his grandmother’s home in Lucknow, but his sister Sana (Dalai) begs him to come. She got married in secret, and she needs Jai to protect her when she tells their mom Amrita (Ayesha Raza Mishra) the news. For his sister’s sake, Jai makes the trip.

Nani’s (Rohini Hattangadi) house in Lucknow is gorgeous and festive, full of life in a way it hasn’t been in years. Besides Jai’s mom Amrita and dad Ajay (Gaurav K. Sharma), the other people staying there are his maternal uncle Rishab (Abhay Kaul), Aunt Preeti (Tarana Raja), and their college-aged son Sid (Ayuushman Ghai). Nani’s 13-year-old neighbor Meera (Shivika Rishi) is also staying there while her mom is out of town.

Between the writing and the acting in Meethe Mein Kya Hai, it feels like the audience is spying on a real family with dynamics that have developed over decades. Nani catches Amrita and Rishab whispering about her, and their reactions seem the same as if they’d been busted as teenagers. The relationships between everyone feel “lived in.”

This quality takes on particular import when the family interacts with Jai. Should they express their concern over how he’s doing without Tara? Should they act as if everything is normal? They all loved Tara, so how do they manage their own sense of loss without upsetting Jai?

When Sana arrives with her new, secret husband Karam (Vikram Bakshi), it sends Amrita into the tizzy Sana predicted. Amrita is even more upset when she realizes that Jai already knew about the marriage, raging as she wonders why no one tells her anything. It’s very funny.

Whatever conflicts the family has are handled with sensitivity and humor. Bansal’s tone is light, aiming to make her characters familiar and relatable rather than dramatic in a cinematic sense. It’s also laugh-out-loud funny on several occasions.

The only slight misstep is the way in which scenes between Jai and young neighbor Meera are shot. The two become allies, with Meera needing a friend and Jai needing a break from his family. On a couple of occasions, the camera cuts between closeups of their faces in a way that seems more suited for a romantic scene, even though there’s nothing inappropriate happening. It’s a distracting choice.

That said, Meera does confess late in the movie to having a crush on Jai (which he does not reciprocate, obviously). He handles the confession compassionately, helping her to realize on her own that this is not a relationship that can work. It’s a kinder way of letting her down than outright rejection. He understands that she is just a kid after all.

The sequence is a good example of all the things the Meethe Mein Kya Hai does best: focusing on the goodness of the characters and their love for each other.

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Movie Review: Jalsa (2022)

2.5 Stars (out of 4)

Watch Jalsa on Amazon Prime

A hit-and-run accident upends the lives of a popular broadcaster and her cook in the drama Jalsa. Strong performances are the saving grace of a film that feels incomplete.

Jalsa opens with a shocking crime. A teenage girl is with a boy on a deserted railway overpass late at night. They fight and she runs away, straight into the path of an oncoming car. The driver and the boy flee, neither knowing if the girl is alive or dead.

Then the story rewinds to earlier in the day, before the accident. Flash-forward opens aren’t generally my favorite plot device, but this one effectively builds tension in Jalsa, because the story catches back up to the crash in about 20 minutes.

During that intervening time, the audience is introduced to Maya Menon (Vidya Balan), a TV journalist known for her tough — and maybe a little self-righteous — interviews of powerful people. Her long hours keep her away from her 10-year-old son Ayush (Surya Kasibhatla), who has cerebral palsy. Ayush is looked after by Maya’s mom (Rohini Hattangadi) and Ruksana (Shefali Shah), the family cook, whose long hours keep her away from her own family.

Since the audience and several of the characters quickly learn the identity of the hit-and-run driver, Jalsa isn’t a true mystery but more of an examination of the consequences of the crime. A subplot with a pair of cops trying to stall the investigation serves as a bit of a red herring, but it doesn’t feel organically integrated into the plot. Likewise, the speed with which a newly hired junior reporter at Maya’s station — who has only just moved to the city and knows no one — uncovers evidence of the police coverup is unconvincing.

Class plays a strong role in the narrative, as Maya and Ruksana face the challenges of parenting with dramatically different resources at their disposal. As someone from outside India and the diaspora (and as someone who’s not rich), I felt like I was missing context about the relationships between wealthy employers and members of their household staff. Without knowing what the expected level of intimacy between the employers and employees should be, I had trouble deciphering when people were acting abnormally or what should be read into certain interactions. Whether that’s my own lack of context or a fault of the writing, I can’t say.

It is worth noting that in my review of Jalsa director Suresh Triveni’s 2017 debut, Tumhari Sulu, I also felt like the movie wasn’t clear about the characters’ feelings or how the audience was supposed to feel about them. Maybe this is just an aspect of Triveni’s storytelling style that I don’t connect with. I also suggested in my Tumhari Sulu review that he bring on a co-writer for his next film, and he did: Prajwal Chandrashekar. Perhaps that’s why I found Jalsa slightly more successful.

Despite Triveni’s storytelling faults, Balan and Shah are such gifted actors that it’s hard not to be invested in their characters. Both women experience pain, anxiety, and anger, and the performances by Balan and Shah are right on point. Manav Kaul — who played Balan’s husband in Tumhari Sulu — has a nice cameo as Maya’s ex-husband/Ayush’s dad.

Another quality performance comes from Surya Kasibhatla as Maya’s son Ayush. Casting a boy who actually has cerebral palsy makes the role that much more impactful. We can understand why the adults around Ayush feel so protective of him, but also why he’s more independent than they think he is. Kasibhatla plays Ayush with just the right amount of cheek for a kid who’s trying to assert more control over his life but who still loves his family. Casting Kasibhatla was a great choice, and I hope to see him in other films in the future.

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