Spoilers ahead…
Watching Rajat Kapoor’s marvellous Ankhon Dekhi, you may find yourself wishing that we had one of those “Outstanding Performance by a Cast in a Motion Picture” awards. The casting is perfect, the performances exquisite. It’s a cliché to say that an actor has “lived” his role – but that sense of not-acting-but-being is all-pervasive here. As the film opens, we seem to be in a family drama, woven around the members of a joint family scrunched up in a small house in Old Delhi – Bauji (Sanjay Mishra), his wife Pushpa (Seema Pahwa), Bauji’s younger brother Rishi (Rajat Kapoor), Rishi’s wife Lata (Taranjeet Kaur), and assorted children and relatives. There is much love in this motley bunch – not the filmy love that’s advertised in capital letters and declared through song, but the kind that’s present in families. It’s a lived-in kind of love, so taken for granted sometimes that an outsider looking in may see only bickering and hate. When Bauji quits his job, Lata grumbles to Rishi that they’re left bearing the household expenses, and when Pushpa makes a fuss after accidentally handling a hot utensil she gives Lata an earful. But when Rishi belts his son for failing in maths, Lata complains to Pushpa about how unreasonable he is. These are complex bonds. These people may have their problems with one another, but they also come together when it matters. It’s how families are in life, and it’s how families were in Hindi cinema – say, in the Hrishikesh Mukherjee films like Khubsoorat and Bawarchi, where one didn’t have to go abroad to experience epiphanies. The household was world enough.
But we see, slowly, that there’s more to Ankhon Dekhi than these expertly observed domestic vignettes. When Bauji’s daughter Rita (Maya Sarao) is found to be in love with Ajju (Namit Das) – “ladka theek nahin hai,” says Rishi, clearly convinced that he is right in reprimanding his niece, that it is his business – Rishi and a few others (there’s even a cop) go to Ajju’s house and rough him up. Bauji is there too, but once he sees the rather pathetic-looking Ajju, he’s no longer convinced about the “ladka theek nahin hai” assessment. He comes home and tells Pushpa that Ajju is a nice boy – he’s made an “ankhon dekhi” judgement of Ajju. That sets him off. He decides he’s never going to believe or endorse anything that he hasn’t seen for himself. We’re deposited squarely in the realm of whimsy. In a brilliantly staged stretch set in the courtyard – every young director (and even some of the older ones) should study this scene, where members of the family heat water and take turns to bathe, to see how to choreograph ordinary movement – Bauji declares that even newspapers are untrustworthy. Who, after all, has seen these things happen? Why blindly accept someone else’s truth? “Apna sach dhoondh,” he says. He’s so caught up in this fervour that he forgets to wear pants.
The comic setups that follow are superb. Bauji accepts prasad from the local priest but says it’s just kalakhand, and later, when the annoyed priest asks him if he will accept the presence of God only if He makes an appearance, Bauji says that that would be ideal. Imagine what it would be like, he says, “Yahan baithke chai pee rahe hain, Shiv ji ke saath.” In another side-splitting encounter, Bauji locks horns with a maths teacher who insists that parallel lines meet at infinity.
Just what is happening here? One theory could be that Bauji is experiencing male menopause, something that’s laughingly suggested by a relative. (Would these folks use a phrase like “male menopause,” though?) Bauji, in other words, is neck-deep in a midlife crisis, and because he cannot buy a Ferrari and bang his secretary, he has found something different to lift his life out of the rut. He has a new “project.”
But there’s something else. Bauji has become some kind of Shakespearean fool, dispensing simple truths amidst all the drollery. And this gyaan makes the people around him treat him like a guru. How ironic. Here’s Bauji insisting that one should believe only what can be validated, and these others are blindly flocking to him. The film, at this point, could be called The Adventures of a Reluctant Messiah. Bauji seems to be looking for something, seeking – what it is, he doesn’t know, and neither do we. In one scene, we see him on the roads, holding up a sign that advises people to open their eyes and trust only what they can see – and yet, this doesn’t build into anything. It just is. And life goes on. The film is right in refusing to make a jadoo-ki-jhappi-like movement out of Bauji’s ankhon-dekhi tenet, for whatever’s happening isn’t external but internal.
And this, inevitably, results in some frustration, especially as the latter portions become looser, more impressionistic. There are things Bauji gets into – illegal gambling, a vow of silence (that’s contrasted, hilariously, with scenes of a boy who just won’t stop talking), the decision to do away with borders on Rita’s wedding invitations – that we accept as strands of this film’s surreal DNA while simultaneously wondering if all this eccentricity is heading somewhere. And I wasn’t sure how literally to take the end, even if it has been hinted at earlier. Luckily, the more mundane domestic issues are always around. By now, Rishi has moved to another house and the resulting cold war between the brothers provides the emotional grounding through the surrounding flights of fancy. Kapoor doesn’t cheapen these bonds by staging big moments that invite us to weep. Even when the brothers embrace tearfully, we cut quickly to a relative who suggests that someone should take a picture of them. The sentiment is defused. And life goes on.
KEY:
* Ankhon Dekhi = something that’s been seen/witnessed
* “ladka theek nahin hai” = this boy isn’t okay
* “Apna sach dhoondh” = seek your own truth
* prasad = holy offering
* kalakhand = a milk sweet
* “Yahan baithke chai pee rahe hain, Shiv ji ke saath.” = We’re sitting here, having a hot cuppa with Shiva.
* gyaan = wisdom/knowledge
* jadoo-ki-jhappi = a magic hug, as espoused by the Munnabhai movies
Copyright ©2014 Baradwaj Rangan. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Anu Warrier
March 24, 2014
Rajat Kapoor usually makes decent films. I’ve been reading about this film for sometime now, and I wish they would show it here, even if only in the arthouse theatres. I’ve a yen for the ordinary films about ordinary people to leaven all the masala that is available all the time.
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Gradwolf
March 24, 2014
” say, in the Hrishikesh Mukherjee films like Khubsoorat and Bawarchi, where one didn’t have to go abroad to experience epiphanies. The household was world enough.”
Neenga romba sly saar.
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Bala
March 24, 2014
@Anu: I am not sure where you are but the movie is online for streaming except in India, Germany & Spain here – http://spuul.com/movies/5752-ankhon-dekhi
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Olemisstarana
March 24, 2014
@Bala – you rock! Thanks so much for this!!!
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Nidhi
March 24, 2014
“Kapoor doesn’t cheapen these bonds by staging big moments that invite us to weep”
He does. The bidaai scene. (I wept)
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hitheshds
March 24, 2014
I loved every frame in this film even if some of the eccentricities and philosophical “learnings” were not really as existential as it wanted to be. It had a very literal take on most Bauji’s musings but everything fit well because of how Rajat Kapoor made the atmosphere.
I watched Lakshmi and Ankhon Dekhi on the same day and one of the things I really loved about Ankhon Dekhi was how each scene was captured. It had the colour, lighting and setting that makes it look very beautiful. Lakshmi seemed laborous to the eye. Ever since the advent of digital cinematography, I have been having this complaint about how some scenes are never really justly captured. They are just framed for 35mm/70mm and put away with. In Ankhon Dekhi, each and every frame seemed to have been captured by a person who loved to see a movie on the big screen. I think I am not really great at explaining this but nevertheless…
And every time I comment for the first time on a thread, I might bother you with my review :
http://madaboutmoviez.com/2014/03/22/ankhon-dekhi-2014-movie-review-a-poignant-flight/
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Kutty
March 24, 2014
Like Hitesh, I also managed to watch Lakshmi and Ankhon Dekhi within 24 hours. To me Lakshmi felt like a Madhur Bandarkar movie on the sex trade filled with loads of masala and almost none of the scenes appealing to the heart. ‘Ankhon Dekhi’ on the other hand was filled with wonder moments! Not recounting any because you seem to have mentioned most of it. I am not a high profile reviewer but somewhere I am tempted to coin a phrase for these new age Bollywood moves – “Bylane Cinema”.
Bollywood over the past couple of years is going literally, where it has not gone before, to the heart of the cities, to its streets and its houses. These are not sets, not those big houses which reside by the main road, nor are they small houses where everything is set perfectly. These are real houses, and as you said ‘almost’ real people. In my understanding, all this started with Band Bajaa Baraat or perhaps even earlier with Oye Lucky Lucky Oye. Khosla Ka Ghosla, despite its lovable characters, was still perhaps a little too cinematic in terms of its visuals and characterization. Udaan, despite its strong characters, still had a very believable household.
The one common thread, however, seems to be Delhi. Somehow, movies set in Delhi, seem to score better in terms of realism. Maybe directors tend to get carried away in trying to paint a romantic picture of Mumbai. Dhobi Ghat, despite being rather well made still had a very poetic feel to it and even Bombay Talkies seemed filled with magical moments. While some may accuse Ankhon Dekhi of also tending to that realm, I guess you found the right word when you described it as whimsical. That is more like it.
Btw, if theonewithTheH is there reading this review, this is to let him know there is one more fantastic addition to the Bollywood list that we were discussing on the Queen review thread. 🙂
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Kutty
March 25, 2014
*Btw : Just to ward off potential comments on my placing Udaan just before the comment on Delhi, I am aware of the fact that Udaan was based in Jamshedpur. Mentioning Udaan was to provide an example of a rather heavy movie which still got its characters right, and set up a contrast to Khosla Ka Ghosla which despite its rather light premise still had characters who were mildly eccentric.
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Anu Warrier
March 25, 2014
@Bala, I appreciate the link, but I do not watch new films on streaming, on principle. I’ll wait. 🙂
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venkatesh
March 25, 2014
@Bala: How legit is this site?
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Bala
March 25, 2014
@anu: Legality related qualms ? If so, this is legal 🙂 If not, hmm. Unsure if they plan to bring the movie abroad.
@Olemisstarana: Don’t mention it 🙂 The producers shared this on twitter I believe.
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Bala
March 25, 2014
@Venkatesh: Tweeted by the director himself- https://twitter.com/mrrajatkapoor/status/448033985659437057 🙂 I see that a few have already seen it on the site. 2$s I believe ? – https://twitter.com/sashwat_k/status/448331109504274433
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Padhma
March 25, 2014
@ BR, your earlier key with links used to have me in splits…..yen niruthiteenga? The key now is very bland!
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Anu Warrier
March 26, 2014
@Bala, yes, actually. I have an aversion to watching pirated content. I’ll pay for a ticket or wait to buy the DVD.
But yes, I checked the link after I posted my first comment, and they do *say* they are legal. 🙂 Besides, if the producers shared this link, at least they know about it.
So, a big thank you.
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venkatesh
March 26, 2014
@Bala: This is good , i know where i am putting my money for the weekend.
@Anu Warrier: Same here, there is no point in just moaning about quality films not coming out , what happens if quality films are made , we pirate em.
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Olemisstarana
March 26, 2014
@Bala… and every other expat on this site. I wish there were some way we could be made aware of how to access new Indian cinema on venues such as Spuul. I am in the Mississippi Bible belt where they released 12 Years a Slave after it won an Oscar, so hindi movies? Fuhgeddabaoutit. I realize this is a one off thing, but I keep getting these ads for Netflix like endeavors that offer new movies, and sometimes I find interesting offerings. And like Anu and others here, pirated and Youtube content (except for trailers, of course) are absolute anathema to me.
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Bala
March 26, 2014
@anu : Oh, don’t mention it.
@olemisstarana: Oh, I am in India but yes, I have loads of friends abroad who suffer due to a lack of Indian movies being released abroad. I hope at least the producers of smaller movies show a greater willingness to use services such as these. (Ship of theseus (and striker earlier) started it)
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brangan
March 27, 2014
Nidhi: Yeah, but he doesn’t blow these moments out of proportion is what I was trying to say.
Kutty: Bollywood over the past couple of years is going literally, where it has not gone before, to the heart of the cities
Actually, this is not true – or may be true only of mainstream Bollywood cinema. A lot of the parallel cinema and a lot of the middle-of-the-road cinema (eg. “Gharonda”) has stepped away to detail the lives of the not-so-happening people. It’s just now these films have become viable again thanks to multiplexes.
Another thing about this kind of Hindi cinema is the out-of-the-world acting, which comes about because they employ theatre actors, who do these wonderful “non-filmy” things while delivering lines. By contrast, most of the supporting cast in Tamil cinema comes from the serial world, and so they look and sound as if they are delivering lines — they’re never really into the part. There are exceptions, of course.
And then there’s the staging. I cannot stop talking about the courtyard scene in “Ankhon Dekhi.” One of the big problems I had with “Cuckoo” is that it’s a writer’s film, not a director’s film. He wrote the film and that was that. There was so little “staging,” which is important when you have these conceits like the exaggerated sound and so forth. The day writers and directors become different people will be a good day for Tamil cinema. Again, there are exceptions of course.
Padhma: Just didn’t have the time…
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Mambazha Manidhan
March 27, 2014
I left work early to catch this movie after reading the glowing review on BR. I saw an Anurag Kashyap- Vishal Bharadwaj type non-sequitur bonanza in my head on reading this terrific write-up.The premise was interesting. Can’t say the same for the whole movie.
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Kutty
March 31, 2014
BR : Completely agree with you on the point about the acting. Increasingly, the actors in these movies are showing versatility and skill and as you pointed out, it perhaps comes with their background in theater. I guess my comment on Bollywood’s new found love for the detail and more realistic backdrops comes with my more recent exposure to the full range Bollywood has to offer and therefore carries with it an ignorance of the decades past.
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Sev
April 27, 2014
I thought training in television including soaps would be beneficial to performers, and assumed that a TV actor or actress would be a better choice than a rank novice. I also thought that theatre acting could make you too unsubtle,a criticism that was levied against Olivier in his early film performances. Too stagy or theatrical, I think we’re the words of a critic in a documentary I watched online. Your response to a previous comment on this blogpost seems to suggest otherwise. Care to elaborate? Thanks!
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brangan
July 7, 2015
Nice to know more about Sanjay Misra…
http://www.rediff.com/movies/interview/i-worked-in-a-dhaba-selling-omelettes-before-i-signed-all-the-best/20150707.htm
His daughters are named Pal and Lamha. How cute (and Gulzarian) is that? 🙂
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