Cast: Paresh Rawal, Shiv Panditt, Manoj Joshi, Tiku Talsania, Amruta Subhash, Neena Kulkarni, Kabir Pahwa, Amrutha Subash
Mimi Chakraborty, KK Raina
Conducted by: Nandita Roy and Shiboprosad Mukherjee
The courts in our country have reiterated ad nauseam that the best interests of the child are the determining factor in a custody dispute. One hundred and forty minutes with Nandita Roy-Shiboprosad Mukherjee takes us to this route. The script moves in an almost straight line in which there is black – albeit with a feeling of sympathy – and white with a lot of disgust. It is an attitude that may even arise from experience or observation.
In the first minutes of the hearing, Judge KK Raina notes that the issue considered in the current context is important and needs to be discussed responsibly. Obviously, this responsibility also extends to the attitude and manner in which the challenge is dealt with within the celluloid framework.
Nandita Roy and Shiboprosad Mukherjee must be commended for keeping a close eye on the chosen path. The style is simple. Interestingly, it reveals little bias. The result is a little too cinematic, but such a compromise at the box office is understandable, and it’s fair to say that even judges have a hard time finding a clear solution. In fact, the dilemma lies between the parents and grandparents; quality time quantity; practical vs. liberal; ambitious – drive less; Brilliant-mediocre and other mysteries explained are the theory that life is ultimately personal and choices are essentially choices. What is a sauce for the goose does not have to be a sauce for the gender.
Cut to Panchgani. Manohar Shastry (Paresh Rawal) and his wife Urmila (Neena Kulkarni) are with their really adorable grandson Yaman-Momji (Kabir Pahwa). Her son MalharShastry (Shiv Panditt) and his successful wife Malika (Mimi Chakraborty) live in the city and earn a living. Typically, Manohar is a perfectionist, has high expectations of everyone and is also an old-fashioned disciplinarian. He has problems with his son and his multiple failures. While Malhar’s career is not taking off, Malika is rapidly climbing up the career list. Malhar gets into a turmoil at the office, quits his job and finds life oppressive on one of those weekend vacations at his parents’ house. Malika is deprived of everyday little things and chemistry with little Yaman. A minor accident at a party draws sharper boundaries in the father-son relationship between Manohar and Malhar. We are heading towards an upper middle class Shastry vs. Shastry scenario.
When Malhar gets the chance to improve his career, he accepts the legitimate demand that his son must leave his grandparents, stop being coddled, and face the world – that is, free himself from his grandparents’ care. An accidental heated discussion leads to a legal challenge and legal battle over child custody.
It is a full-blown battle in which the key players are hesitant but have non-negotiable interests and believe that the system can provide a solution. Courts are often involved in deciding child custody. The delicate task of having to choose between maternal demands and paternal rights is an ancient one.
This time, and certainly not for the first time, the battles are between the “WhatsApp parents” and the disguised caretaker grandparents. Furthermore, the challenge has a halo with the theme at the same time. Larger joint families broke up, creating social, emotional and financial challenges in raising children. Women making career choices based on their ambition, skills or needs pose logistical challenges. “Age tax,” as one person puts it, is a growing Indian avenue for NRIs and obviously an inspiration to its domestic counterparts.
The debate is preceded by the judge, who names the challenge and sets the tone. The two lawyers Jeetender Mehta (Manoj Joshi) for Shastry Sr. and Shalini Patwardhan (Amrutha Subash) are dramatic but educated and steadfast. The script fits well into the courtroom.
The team has done its homework. both socially and legally. The mix is balanced and equally presented. It ensures that the main timing remains in balance and is not one-sided. More importantly, the questions raised do not involve director bias. Intellectual honesty leads to a paradox, but to say more would be spoiling the game.
While the script works enthusiastically on the basics and avoids unnecessary embellishments, it takes its time to address the brewing conflict. Once this is the case, the conflict is balanced again and presented. The cast offers enormous added value. Mimi Chakraborty may not play an important role. However, she has her moments and a very clearly formed character. Her scene moment occurs in the later part of the film when she asks her in-laws a question. In comparison, Shiv Panditt is a bit too boring – especially the confrontation with Paresh on the seashore. As a lawyer, Manoj Joshi is once again the ever-reliable actor. Interestingly, this time he comes into conflict with Amrutha Subash – who is equally good. Maybe the script plays up her favorites and she’s up to the task. Neena Kulkarni has a worthwhile role for a change and she delivers it.
Two outstanding performances make the film something special. Child star Kabir Pahwa is so lovable and good that he reminds you of Raju Shreshta or Jugal Hansraj. He plays the role with such honesty that his quality makes him worth fighting for!! Paresh “Perfect” Rawal is back. He carries so much sincerity within him that the mood is visibly contagious. A very remarkable achievement – even by his standards.
The emotional strings are well balanced and the combat is almost symmetrical. Handle responsibility, present with passion.
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