Mrighdeep Singh Lamba’s Fukrey is the story of four youngsters who, needing money for various reasons, end up at the mercy of Bholi Punjaban (the awesome Richa Chadda), a shady operator who announces her predatory instincts with animal-print clothing. Her magnificence needs many mirrors – as in her gym. (Her SINDERELLA tattoo, though, is a too-clever touch in these surroundings.) The other women in the film are equally strong. Neetu (Vishakha Singh) breaks off a relationship when she sees it going nowhere (her boyfriend is too weak to snap the threads himself), but when he’s in trouble, she pays his hospital bills and packs off a cop who threatens him. Even Priya (Priya Anand), who’s not nearly as empowered as the others, manages to teach her boyfriend Hunny (Pulkit Samrat) a lesson. He’s just a silly braggart, boasting about French kissing a non-existent girlfriend, and she forces him to grow up.
The men – the fukrey – are, by contrast, weak. They’re weak in studies (needing tutoring by women). They’re weak in ambition, preferring crooked shortcuts to striving (which at least Neetu definitely does). And they’re weak in survival skills. Even the smarmy Pandit (Pankaj Tripathi), who likes to position himself as a do-it-all, proves more speaker than doer. At some level, Fukrey is a Priyadarshan movie (remember those comedies of desperation he used to specialize in?) or a Farhan Akhtar bromance (he’s one of the producers) filtered through a feminist lens.
But if that description makes Fukrey sound like all subtext and no fun, perish the thought. This is an exotic beast, some kind of high-minded low comedy. It’s centered on the Freudian conceit of interpreting dreams (always with lots of animals) – only, the interpreter is an underachieving school kid who faces the prospect of a third year in Class XII, in a Hindi-medium school. (When his best friend – Butt-head to his Beavis – speaks English, his response is, “Bob Christo ki aulad!”) This is the kind of film where Hum honge kaamyaab is transformed into a gay-liberation anthem. This is also the kind of film that foists the line “Teri kismet tere haath mein” on a urinating boy. At times, the boy who dreams those dreams comes across like an idiot savant. At other times, he’s just an idiot. A scene of torture at the hands of Bholi Punjaban includes running backwards on a treadmill. And yet, this absurdity doesn’t preclude genuine crises – like a paralysed father needing expensive hospital care, or another father facing the loss of his business through no fault of his own.
Lamba’s achievement is that – despite length and pacing issues – this mix doesn’t result in whiplash for the viewer, and the reason is the rootedness of the milieu. Instead of putting quotation marks around the high concept (the way, say, Aiyyaa did), Lamba lets his story play out in the most unremarkable “Dilli” neighbourhoods, amidst the most unremarkable “Dilli” people. The pocket of boy’s school uniform has a small tear on a side (a detail that made me recall days when fountain pens would go mysteriously missing). Boys ride bicycles as women, in flats above, spray their heads with water from freshly washed clothes. People in crowded buses casually overhear (and even insinuate themselves into) conversations. And when things threaten to get too unremarkable, too day-to-day, too ordinary, a low-rent impresario whips a devout crowd into a frenzy by staging the story of the mother goddess as a pop-spectacle, with actors costumed as lions and peacocks.
These splashes of local colour keep us laughing. The tacky board by the side of a bus stop that proclaims: “For love marriage contact…” The too-familiar query upon sighting someone after a long while. (“Kahin gupt rog nahin ho gaya?”) The departure for a rave party in… a scooter with a sidecar. The mistaking of the most innocuous actions for Love, even in the direst of situations. The view of college as some kind of gauzy heaven, like peasants who’ve stumbled into a tony country club. The running gag between Lali (Manjot Singh) and the man outside the gurudwara who speaks in non sequiturs. And, best of all, anything said or done by Choocha (an uproarious Varun Sharma, who looks like he just might grow up to be Rajesh Sharma). Just watching his wide-eyed narration of his dreams is worth the price of admission. Even the tough-as-nails Bholi Punjaban cannot control a smile when he speaks – about, say, being born (literally) eons ago.
What’s missing is the sense that something is at stake. Rather, we see what’s at stake, we know it, but we don’t feel it as the film progresses. The scene where Zafar (Ali Fazal) is forced to take his paralysed father’s urine sample should have hurt like crazy – this is, after all, the lowly butcher who wanted his son to pursue his musical dreams. But Zafar’s tears aren’t ours. For a comedy of desperation, we begin to feel – after a while – that there is too much comedy, not enough desperation. But these people, these 4 idiots, are so incapable of doing anything right that their cluelessness becomes enough of an emotional mooring. We just want them to save their skins. Because, despite everything (including the fact that Zafar is a bit of a wet blanket), they’re so nice. When Lali’s girlfriend dumps him, he swears that he’ll have his revenge by parading in front of her eyes a hotter piece of arm candy – but when the time comes, he simply smiles at her and waves. He’s the kind of guy who can’t bring himself to charge customers at his father’s dhaba. How can he bring himself to break her heart?
Copyright ©2013 Baradwaj Rangan. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
petervas
June 15, 2013
Please tell me if this movie is worthy of this super review!
LikeLike
usha
June 15, 2013
‘…….gauzy heaven, like peasants who’ve stumbled into a tony country club’
hmm…sounds just a bit ‘ist’ to me! don’t ‘like’.
LikeLike
Rahul
June 15, 2013
“What’s missing is the sense that something is at stake.“ I think the film is being as `nice` as its characters. It does not want to burden us with drama – and I did not feel that I was missing anything. Its not often that you see the absurd style of comedy of the recounting of dreams by Varun – and the non sequitur style of the running gag. . Varun had the most lines and he was terrific – but my picks will be Pankaj Tripathi as Pandit ji and Ali Fazal as Zafar.
Ali Fazal had the thankless job of playing the straight character in a comedy – but it is also noteworthy that he is not the archetypal straight guy – who performs the function of the audience, acting as a device to play off gags against. He just exists. I think it was a difficult role to play, as he had to strike a balance between the universe of his character and the universe of the film , and he pulled it off pretty well.
Pankaj tripathi was terrific – with his typical Bihari English accent.I think he is the guy who can do a Rajesh Sharma any day.
LikeLike
kaushik
June 15, 2013
thalaivaa man of steel review please
LikeLike
brangan
June 15, 2013
petervas: Are you asking me to say if this film is worth going to or not? I would, but then young gradwolf would come along and sigh, “BR giving recommendations… how the mighty have fallen!” 🙂
Rahul: “It does not want to burden us with drama…” Drama needn’t be a burden. It depends on how you treat it. Had there been more of a hook into the “desperation” aspect, the film IMO would have been stronger.
kaushik: Will do a column, I guess… Haven’t seen it yet.
LikeLike
Rahul
June 15, 2013
Petervas: For whatever its worth , I liked it better than the other two recent comic releases – Chashme Buddoor and Go Goa Gone- and I liked both of them.
BR- I know you like your drama 🙂 To me this film had the off kilter quality of classics like Waisa bhi hota hai -2 or 1:40 Ki last local. Drama would have made it more conventional. Not an argument , just my perspective.
LikeLike
petervas
June 15, 2013
BR: i liked your review very much, and i wondered if the movie was worthy of your inspired review. I agree, recommendations would be so binary and not worth the trouble of your involvement 🙂
LikeLike
Utkal
June 17, 2013
My hopes on this one were belied. Thought it will be reasonably funny. But it was totally flat. The basic idea had a lot of potential. But director Mrigdeep Singh just doesn’t know how to do comedy. Looking at the one can appreciate what kind of genius it took to pull off a Delhi Belly. And even Go Goa Gone worked .
There are many things here that are wrong. At a directorial level it lacks comic and narrative energy. The actors seem to be acting well, but their notes are all wrong fora comedy. They are too goody, goody.. and sincere..lacking any kind of quirkiness. It looks like they are in Student of the Year rather than Fukrey. The production design too is unimaginative…just plain lighting.. straight rhythm. No surprises, no edginess. THe songs are lame. Jugaad just does not have the energy or the edginess of DK Bose..even though it is Ram Sampat welding the baton again. I only liked the girls..especially Richa Chadda. But not enough to recommend the film to anyone.
LikeLike
brangan
June 17, 2013
Rahul: Drama isn’t always heaviness on screen. It’s heaviness in *life*. You can have a lot of drama on screen, but treated lightly, without tears etc. The point is whether that heaviness impacts the characters’ lives.
The movies you mention weren’t devoid of drama. They just treated it a different way.
LikeLike
Utkal
June 17, 2013
The lazy, and half-cooked aspect of the script is most evident in the crucial moment of the narrative. ( Don’t read further if you haven’t seen the film and want to.) It is about the dream which Choocha never had. Now, knowing the kind of danger they were in and the stakes involved he won’t dare lie. Unless the film was pitched at that absurd key. A more challenging and inventive script would have used a different explantion for why the interpretation missed. THe hint was already there. Hunny missed the aspect of the ‘ pichewade mein fire’. That should have been shown as the costly lpase. And factoring that extar information in would have led to the result that eventually showed up.
Any way, the funniest scene in the film centered around that non-dream sequence…with Hunny tousling Chhocha’s hair, Jafar playing music and Lail pressing his legs. That really cracked me up. Also constantly funy were the gas involving Choocha hitting upon Bholi Punjaban. . .
LikeLike
Rahul
June 18, 2013
BR, I do see where you are coming from. Maybe my examples weren’t quite fitting. I do not want to belabor this point , but still find the discussion interesting so I will go on. Lets take another comedy – Luv Shuv te chicken Khurana. Omi hits upon the recipe accidently but decides not to use it – thereby becoming more his own man and a good son, good brother, honest guy- all that stuff.
Coming to this movie – the basic premise of dreaming up lottery numbers is so out there that in my opinion if they wanted some dramatic heft they would have to make them fail the last time. So, the lottery did not come through but they realize they were wrong in their ways – in the process they become more responsible , become closer to their parents , become good hardworking students and honest etc etc.
But this movie chose to take the other way . When they are maintaining the central conceit of lottery numbers till the end , I doubt if any other dramatic plot line would have been compatible.Would be interesting to know what choices the script writer may have considered.
LikeLike
Rahul
June 18, 2013
p.s.Just to rephrase – In a farcical fairy tale world where winning lottery numbers are discerned from weird dreams – an emphasis on dramatic sub plot involving aging fathers and estranged girl friends may feel like hard to believe.
LikeLike
brangan
June 18, 2013
Utkal: reg. “Unless the film was pitched at that absurd key…” The way I saw it, the film *was* pitched at that absurd key — just that it was doing it in a low-key manner, unlike “Aiyyaa” or “Matru Ki…”, where the absurdity was more overt, more in your face. So I didn’t have a problem buying that development at all. Given Choocha’s general idiocy (or idiot savant-cy), and given his “fear” of Hunny, it wasn’t out of character for him to do this at all.
Rahul: Oh, there’s no right or wrong here, and film-related discussions *are* becoming rarer in this space — so please feel free to belabor the point 🙂
Actually, “Luv Shuv…” is a film in a similar vein, because it takes the “bad man turning good” story — i.e. a “dramatic” story — and strips it of all “nobility” and high-mindedness. There’s no stirring music or noble dramatics accompanying these transitions. The film managed to have drama in a light-hearted way. There were tears, and yet, Rajesh Sharma is wondering when they’ll eat — so the “heaviness” is instantly deflated.
Here too, there are transitions in character (eg. Hunny wrt Priya, Zafar wrt to his relationship). So there *is* drama built into the story. And IMO had these moments been dwelt on a little more it would have benefited the film. The drama needn’t be in a separate subplot. And the absurd nature of the proceedings would have naturally deflated the heaviness of whatever drama ensued.
And regarding the “out there” nature of the premise, again, the two films are somewhat related. I mean, that secret recipe… if that isn’t “absurd”, then what is? 🙂
LikeLike
Rahul
June 18, 2013
“And regarding the “out there” nature of the premise, again, the two films are somewhat related. I mean, that secret recipe… if that isn’t “absurd”, then what is? ”
Yes, that is exactly what I was trying to say. The premise of both these movies is similar. My point is that – if Fukrey had dwelt more on drama like LSTCK, they would probably have had to make them fail in their last lottery , just like Omi had to forego using the secret recipe, and that would have been a bummer. Actually, in my mind , I have made this connection that more drama means less farce – leading to a tamer and more conventional ending. I would probably have preferred Omi to keep using the secret recipe , however un – PC it may seem to be, it sounds more fun. Who cares if he became his own man, found a purpose in his life or not , etc.
Coming back to Fukrey, it may have felt odd if Zafar the idealist is getting his father treated well , or Laali;s halwai Dad is feeling proud of his son getting into college, when they have accomplished that through easy money or underhand means.
LikeLike
Utkal Mohanty
June 18, 2013
BR: What you call ‘low-key’ is low-energy in my reading. Actually I would like to correct my earlier post. The writing is not at all bad. In fact there are some real high-concept comedy jinks. The business of motorcycle parts being stolen for example, or the very idea of Winning a Lottery Through Interpretation of Dreams. It is the execution that is sub-par. apart from the energy and pacing, where the director errs is giving the Hunny character such clean-cut good looks. He is preening so much , and shooting so many cute expressions that it is difficult to take him seriously as funny. That’s where films like Delhi Belly and Go Goa Gone got things right to start with, by making their heroes look grungy. And while is is pitched at an absurd key, they are staging it more as Hrishikesh Mukherjee absurd rather than Manamhan Desai absurd. The material clearly called for the latter.
LikeLike
Kutty
June 22, 2013
Loved the read on the strong female characters and weak male characters. It just gets hidden amidst a lot of other things. In other words, apart from Richa Chadda, the girls did not get enough screen time.
Disagree with you on most other things though. Rahul beat me to the comparison with Luv Shuv… . While the premise is as absurd, the execution in that movie was so much better. To a large extent, that movie knew where to be funny and where to play the emotional card. Fukrey seemed plain confused at most times. While the “Sardarji” and “Choocha” characters got their timing almost perfect, Zafar seemed to be underplayed to an extent of being wooden while Hunny was at times trying to hard.
The absurdity is what keeps the movie going (the rich beggar, the dreams, the pooja scene towards the end, the gym scene after the goof up) and so when the director/script brings in some semblance of sanity back into the picture, there is a discord. In other words, the movie could have done with a lot more “Choocha” and no “Zafar”.
LikeLike
brangan
June 22, 2013
Kutty: I don’t see screen time as being indicative of something in the film. If someone can make a point with two scenes, then why not? BTW, reading your comment makes me think we are fairly on the same page about the film, just expressing it differently (eg. regarding Zafar, the emotional card, etc.) 🙂
LikeLike
Kutty
June 23, 2013
Ada ponga saar. I was hoping that at least for once let me disagree with you. Now you come and tell me it is all about the way the arguments are framed. I give up!
LikeLike
jawad
October 28, 2013
Btw… This movie was a heart touching comedy. And when u talk about senseless dreams of choocha. Then i say there is no comedy without making something funny senseless dreams. Lali was nice and innocent boy, pulkit was the hero of this movie and zafar was a little weird, bcz comedy film should nt acquire sadness, but overall he was the best. Choocha and bholi were the best of all.
LikeLike