The Lunchbox (2013) [Film Review]

The Lunchbox; or, A Stroke of Luck
     Somewhere I read that the wrong train can lead you to the right station...
Has it ever happened to you that you opened your lunchbox and were surprised by its content? This week’s review will cover the troubling topics of depression, letters, unexpected friendship, refuel of faith, and pursuit of happiness. Obviously, I want to discuss the 2013 international hit film The Lunchbox with Irrfan Khan and Nimrat Kaur in the leading roles.

Release Info

Directed by: Ritesh Batra Starring: Irrfan Khan, Nimrat Kaur, Nawazuddin Siddiqui

Language: English, Hindi Runtime: 100 min

Synopsis
Mr Saajan Fernandes (Irrfan) is a widower who is trying to get by at his accounting job. Illa (Nimrat Kaur) is a housewife who is hopelessly attempting to get the attention of her busy husband. The wife even prepares a special meal which she sends via the food delivery system of Mumbai’s “dabbawalas”. Unfortunately, some kind of a mix-up happens en route and the lunchbox ends up on Mr Fernandes’ desk. Illa discovers that the meals are not reaching her husband and writes a letter to the unknown receiver of her dishes. Saajan responds and, in consequence, a long-lasting correspondence ensues. The unexpected communication through the lunchbox irreversibly changes the two strangers.

The way to a man's heart is through his stomach
The first thing I would like to say about this movie is that I deeply regret not seeing it at the cinema. I picked it up on DVD a week ago (Indian food and Irrfan Khan on the cover did the trick) and, after watching it, I complained to myself: How could I miss such a gem on the big screen?! (Release date: February, 2014 in my country). Indeed, The Lunchbox is a shining gem polished with an enormous amount of noticeable love and patience from the cast and crew. What initially appears to be yet another romantic flick pleasantly surprises its viewers by becoming a warm-hearted story about regaining self-confidence and living life to the fullest.

The core of the film is transgressing cultural differences. The eponymous lunchbox is the inanimate facilitator that establishes a connection between people from totally different backgrounds. Mr Fernandes is a Scrooge-like character (living in painful solitude after the loss of his wife) who wants to be left alone. Illa, on the other hand, is a young housewife and a mother who seeks to renew the relationship with her husband. As the two start to exchange recipes, pieces of advice, daily anecdotes, and personal confessions, they get closer to each than they would ever be in reality. This shift in attitude is especially visible in Saajan who transforms from a recluse into a dreamer. He even befriends an outgoing office apprentice Shaikh (played by Nawazuddin Siddiqui) and eventually becomes an important part of his life as well. This is the paradox that the director Ritesh Batra draws before us. Mumbai is the cultural melting pot of people always in a rush. Serendipity in the form of the lunchbox makes two of those people: a Christian (Fernandes) and a Hindu (Illa) stop and think for a moment.

However, there is still one more issue to be mentioned and it is the one of love. Namely, Saajan changes not just because of the excellent food he receives, but because of Illa herself. This is an impossible love story: a 52-year-old Christian falling for a married Hindu. Yet, the two try to find each other. Illa sets up a meeting in a cafe, but Saajan never approaches her, because he is aware of the social gap between them. Still, Illa eventually tracks down his office address, but he has already retired.

This leads us to the real villain of the piece, and no, it’s not Illa’s husband (though it is implied that the man is cheating on her). The true enemy of our characters is time. The Lunchbox touches upon a very universal problem of busy lifestyle in a metropolis. Mumbai workers need to be on time at work, but they prefer home-cooked meals for lunch. Thus, the “dabbawalas” came to existence in order to save the time (of housewives and workers). Yet, time is an obstacle for Saajan and Illa to be together, not only in terms of age difference, but also quite literally.

In the ending scene (which I liked very much, though it sparked many negative comments on the web) we see Saajan travelling with “dabbawalas” on a train. By doing so, Mr Fernandes hopes to find Illa during the process of returning the lunchbox (in the afternoon). However, on the same day, Illa decided to sell her jewellery and escape from her husband as soon as her daughter gets back from school. Will Saajan find her before she leaves? This is the question to which the viewers have to answer on their own. Personally, I believe that even the wrong train can lead you to the right station...

Irrfan Khan gives a superb performance and, out of his cinematic creations, the character of Mr Fernandes instantly became my second favourite (right after Ashoke Ganguli from The Namesake (2006)). Nimrat Kaur is convincing as Illa and handles the character with confidence. Nawazuddin Siddiqui is a wonderful addition to the film as Shaikh. The subplot about this sympathetic extrovert is another advantage of the movie.

Recommendations
If you’re not into romantic films, that’s okay. If you’re not into colourful Bollywood love flicks, it’s also fine. The Lunchbox is neither of these and does not pretend to be. It takes an accident that may well occur in real life and turns it into a wonderful tale about the meaning of life. It’s been quite a while since a movie managed to set me in a positive mood. Maybe I’m being slightly too subjective about this film, but I can’t help to look at it from my personal experience of having a pen friend. Nevertheless, The Lunchbox is a moving and memorable story, which makes you root for its protagonists. I’ll certainly be revisiting it every now and then.
Overall score: 10/10 (Deservedly Earned)

Talvar (2015) [Film Review]

Talvar; or, Blindfolded Statute of Justice

     It is better to free ten criminals, than imprison one innocent...

This week’s review will be about a 2015 Hindi drama/thriller film based on the true 2008 Noida double murder case. Directed by Meghan Gulzar and starring great Irrfan Khan in the leading role, the movie attempts to objectively depict the whole process of the troubling investigation which generated the public’s disdain and distrust of the Indian legal system.

Release Info

Directed by: Meghna Gulzar Starring:Irrfan Khan, Neeraj Kabi, Prakash Belawadi, Tabu

Language: Hindi Movie Industry: Bollywood Runtime: 132 min 

 

Synopsis

On the 16th of March 2008, a 14-year-old girl, Shruti Tandon (Ayesha Parveen) is found dead in her bedroom with her throat slit. The police initially suspect the missing servant as the killer, but they find his decomposed body the next day. Needless to say, the media quickly interest in this morbid affair. Also, the situation is incited when police officers present their theory that the girl had an affair with the servant, and because of that the parents murdered them as a way of honour killing. Then, the investigation is handed over to CDI (the Central Department of Investigation) and Ashwin Kumar (Irrfan Khan) is put in charge of the case. The investigator comes up with a theory that there must have been outside involvement and the victims were killed by the servant’s friends. Nevertheless, new CDI director does not believe Kumar and assigns yet another team to start a new investigation...

Clean that Sword!

The film focuses on a very sensitive topic and, as it is not so difficult to deduce, similar motion pictures often failed in delivering their stories due to providing judgemental comments and taking sides (like this particular movie, for example). Yet, thankfully, that is not the case with Talvar. Meghna Gulzar really did her homework along with the scriptwriter, Vishal Bhardwaj, and genuinely tried to show what happened after the murder, instead of pointing at a person whom she suspects of committing the crime

As a result, the film is done in a very Rashomon-like style. We, the viewers, become Kurosawa’s commoner who listens to the accounts of a woodcutter and a priest. Of course, Talvar has its main hero played by Irrfan, but his character is there for the audience to highlight a possible alternate theory (in which the parents didn’t do it). The real heroes are the three theories of “what probably happened on the night of 15-16 March 2008”. It is up to us to decide which version is the most probable one, but still the Indian justice system is not able to verify which one is really true.

On a side note, I was quite surprised to find a lot of emotional comments under the film’s trailer. I understand that this is a very difficult case and, indeed, if the first investigation was carried out properly, there would not have been such a heated debate today. This is another issue brought up by Gulzar: negligence by the investigators (not securing the evidence, harassing witnesses, succumbing to political influences) and a (possible) miscarriage of justice.

In terms of performances Irrfan Khan’s acting is flawless, even though his character appears primarily in the middle section of the film and the finale. Neeraj Sabi and Konkona Sen Sharma are convincing as Ramesh and Nutan Tandon respectively. Also, Prakash Belawadi does surprisingly well as Kumar’s former superior/mentor. Additionally, it was great to see Tabu playing Kumar’s wife, however, she can be seen briefly in a couple of scenes.

Recommendations

I recommend Talvar to anyone who, similarly to me, has not heard before of the Noida double murder case. The movie’s content is objective enough so as not to cloud your own judgement on presented events. Meghna Gulzar and Vishal Bhardwaj did a very good job with this film. Plus, Irrfan singing Resham cracked me up!

Overall score: 7/10

Te3n (2016) [Film Review]

Te3n; or, Vengeance for a Granddaughter

     I couldn't do anything for my daughter. And after she was gone, I couldn't take care of our Angela also. I can't sleep at night. I have to find the man who took Angela away from us. And I promise you… I will find him.

Continuing my discussion of Montage, I’m now moving on to Te3n, an official Hindi remake of the South Korean thriller.

Release Info 

Directed by: Ribhu Dasgupta Starring: Amitabh Bachchan, Nawazuddin Siddiqui, Vidya Balan

Language: Hindi Movie Industry: Bollywood Runtime: 136 min

Synopsis

8 years since the kidnapping of his granddaughter Angela, John Biswas (played by the legendary Amitabh Bachchan) is relentlessly visiting the police station day by day. Inspector Sarita Sharma (Vidya Balan) politely tells Biswas that they have no clues about the kidnapper. Also, Martin Das (Nawazuddin Siddiqui), the officer who was handling Angela’s case, is frequently visited by John. Yet, personal shame pushed him to become a priest, thus he is reluctant to help Biswas. Nevertheless, undeterred grandfather begins his own investigation as one day he notices a girl wearing his granddaughter’s cap. In the meantime, another kidnapping occurs in exactly the same manner as the one 8 years earlier. Father Martin is convinced that the same kidnapper has returned.

Crime Streets of Kolkata

Firstly, I have to point out that I’ve seen Montage and Te3n back-to-back. Though watching Montage was an invigorating experience, I was pleasantly surprised by Te3n as well. I know it’s a remake and the script clearly does not shy away from its Korean progenitor since it tells the same story, but it’s not a lesser production altogether. Indian filmmakers took what was best in Montage, framed it in Indian cultural background (great setting of Kolkata), and added a few subtle changes. What were the results:

Slow-paced progression of the events. Especially at the beginning, it is very hard to get into the story. Both films begin with the same sequence of a child’s death, but whereas Montage jumped immediately at the whole before-it’s-too-late stuff because “statute of limitations,” Te3n scraps this whole segment and we have to sit through 20 minutes of talking and flashbacks in order to understand what is going on.

Yet, it’s not entirely a bad thing. Who said that thrillers have to be only fast-paced? This introduction at least allows us to get to know three main characters: another substantial change. In Montage, there was only the mother and the detective. Here, we have the grandfather, the priest (former detective), and the police inspector (who is a woman). Major change indeed, but it significantly improves the story.

In the original film, the mother seemed two-dimensional, hence the detective had to carry on his shoulders the emotional charge of the story. In Te3n, the three characters provide fresh perspective for the viewer. We’ve got John Biswas whose traits are the mixture of the mother and the detective (determination to catch the abductor, obsession, near insanity), Father Martin who used to be like detective Cheong Ho but his guilt destroyed him, and Inspector Sharma who... does not really give a damn about the old kidnapping case. In consequence, new characters not only remake but also reinvent Montage’s plotline, making it open to new interpretations.

Additionally, the way how John Biswas discovers the kidnapper’s identity is done differently. In Montage, it was not much of an investigation than a complete accident for the mother. She found an umbrella with a logo, made the list of suspects and it was the end. However, John goes full Sherlock as he finds new pieces of evidence (a cap, a pen, a company logo). Another positive alteration.

However, that’s basically it when it comes to plot changes. The makers of Te3n knew the value of Montage and did not even try to veer off its main course. Careful re-enactment of Montage’s most important moments (kidnapping, picture in the garbage truck, and dreadful railway station sequence) was a bit of a letdown to me. I know it’s a remake, but I hoped for some greater ingenuity. Yet, what I’ve seen was satisfactory enough.

In terms of performances, the three (as the Hindi title hints) leading actors are the main pillars of this picture. Amitabh Bachchan does a marvellous job as the grandfather seeking justice. You can feel the anguish, suffering, and emotional torment of the main character. Nawazuddin Siddiqui is convincing as a disillusioned cop-turned-priest seeking redemption. Surprisingly, Vidya Balan does well as a female police officer and I’m encouraged to check out some of her other films. Padmavathi Rao, though only in a supporting role, deserves an honourable mention as John’s wife.

Recommendations

Even though it’s a remake, I highly recommend this film to anyone interested in a good thriller. Although the main crime is repeated, the movie is well written, has an awesome cast, good music, and is set in West Bengal. Even if you have already seen Montage, check out Te3n to see what was done in a different way. In my opinion, Te3n stands equally with its South Korean source material on the level of quality. A solid production among Bollywood's 2016 releases.

Overall score: 8/10

Montage (2013) [Film Review]

Montage; or, To Catch a Kidnapper

     This is where I was wrong. You've mistaken yourself for the victim and not the cause of all these cases at the time.

This week’s review, or, in fact, reviews (as I’m going to discuss Te3n (2016) as well) will be about a surprisingly well-made crime story with a double twist straight from South Korea. Brace yourselves for an intense pursuit, investigation of two(!) kidnapping cases and ingenious catharsis at the very end. To be specific, I’m talking about Montage (2013).

Release Info 

Directed by: Jeong Keun Seob Starring: Kim Sang Kyung, Uhm Jung Hwa, Song Young Chang

Language: Korean Original Title: 몽타주 Runtime: 119 min

 

Synopsis

Detective Cheong Ho (Kim Sang Kyung) is still struggling with an unsolved kidnapping case which happened 15 years ago. Unexpectedly, the detective picks up a new lead only five days prior to the expiration of the case’s statute of limitations. Surprisingly, somebody left a flower on the crime scene. Even though Cheong Ho locates the man in question, the suspect manages to escape and it is already too late to prosecute him for his crimes. Detective quits the force, but soon after he is called again as it turns out that another kidnapping occurred with exactly the same methods used as in Cheong Ho’s old case. Is it possible that the same kidnapper is active once again?

Perfect Crime, Better Repetition

From the opening scene, director (and writer) Jeong Keun Seob leaves the viewers completely in the dark (similarly to the mother behind the wheel with a bag on her head) as the central sequence of the story sets in motion a chain of convoluted events leading up to the kidnapper’s identity. Although we have very little information about what happened 15 years earlier, we are almost immediately thrown into the thrilling search for the kidnapper. This is probably the first highlight of the film; as it does not attempt to provide a moral standpoint, but allows to get to know the main characters. On the one hand, there is the detective who treats the kidnapping case personally and almost seems to be obsessed with it. On the other hand, we have the mother, Ha Kyung (Uhm Jung Hwa), who is even more obsessed and determined. These two characters form the starting point of an amazing “whodunit” story.

So, what really happened 15 years ago that irreversibly changed the detective and the mother? Ha Kyung’s daughter (Kim Sung Kyung) was kidnapped when coming back from school. The kidnapper left a photograph of the child in a garbage truck and ordered $50,000 to be delivered in a bag at a railway station, where he swiftly took it into a crowd of army cadets. Ridiculed police officers focused on the lost money, but detective Cheong Ho came back to the mother’s apartment and listened to a recorded phone call from the kidnapper. The bad guy was willing to give the child back for more money.

I know it’s been three years (so far) since the release of Montage, but I don’t intend to reveal the ending so as not to ruin your own fun of watching the film. All you need to know is that 15 years later, the crime is committed again with the same methods (though, the idea of army cadets still appearing on the same railway station everyday for 15 years is too far-fetched), but, this time, the plan is pushed to perfection. Only Cheung Ho knows that the real kidnapper has got away again, but how to nail him down? The key is the old tape recording of a phone call.

Simultaneously to these events, we see the mother conducting her own investigation. Quite cleverly and meticulously Ha Kyung collects previously unknown pieces of evidence and creates a list of suspects. Eventually, she arrives at an empty house and finds a calendar marked with the countdown to the case’s statute of limitations expiration... Yet, the key to understanding the film's big twist at the end is the fact that the detective’s and the mother’s storylines do not occur simultaneously. Jeong Keun Seob tricks us into believing that what we see on screen happens in real time, but actually it does not. Once you get this, you will understand the beginning and the ending of the film.

In terms of performances, Kim Sang Kyung does a great job as a mentally broken detective. Yet, I couldn’t help but constantly think about his other police role from Memories of Murder (2003) (an unintentional reference?). Uhm Jung Hwa is also convincing as the mother, but her character is inconsequentially written. The actress clearly tried to do her best with the material she had, but towards the end of the film, it was the detective character whom I was rooting for.

Recommendations

I can’t remember the last time since I’ve seen such a clever thriller. Of course, it’s done very much in the Hollywood style, but it does not suffer from the accumulation of insane plot twists and mind-bending revelations. Some things could have been improved, but this was already done in Te3n which I want to focus on in my next post. All in all, Montage is a solid entertainment that will certainly keep you engaged in one sitting.

Overall score: 8/10