Spoilers ahead…
In Akshay Roy’s Meri Pyaari Bindu, Parineeti Chopra plays Bindu Shankaranarayanan, the least convincing Tamilian in the history of Hindi cinema. It isn’t that she cannot speak convincing Tamil. The story is set in Kolkata, so maybe she’s one of those kids who never got a chance to learn the language. But she’s a dubbing artist (she dreams of becoming a singer), and at one point, we see her in a studio, uttering this just-wrong line: “Nee rakshas.” Maybe the director of the film she’s dubbing for is one of those kids who never got a chance to learn the language as well.
But maybe it’s just laziness. For at one point, Bindu says she’s in love with a south Indian Christian named Anil Mathew. What is this mysterious creature, this “south Indian” Christian, as opposed to, say, a Malayali Christian (going by the name)? After all, Bindu does seem to have a thing for Mallu men. (The next time we hear about one of her relationships, it’s with someone named Nair.) Why not be specific, do a bit of research before committing a character to screen? It just makes things that much more believable.
If I seem to be making much of this minor issue, it’s because Meri Pyaari Bindu isn’t a dumb rom-com that you easily dismiss. In fact, it’s the opposite. It’s not exactly a rom-com, and it’s certainly not dumb. The film opens with an homage to Fellini’s Christ-in-the-air image from La Dolce Vita. It’s that… un-dumb. But this Fellini quote is as vague as Bindu’s Tamil-ness. It’s just a thing, a sketchy surface detail. We later see a poster of the film in Abhi’s (Ayushmann Khurrana) room – he’s in love with Bindu – but it doesn’t seem like his thing. It’s more like the director’s thing.
Meri Pyaari Bindu, in other words, is another of those films where we’re asked to bask in someone else’s nostalgia. Translation: a procession of SD/RD Burman and Bappi Lahiri songs. The more Bollywood distances itself from older Hindi cinema, the more nostalgic it gets for the latter. The Rishi Kapoor romances of the 1970s did not have endless nods to, say, the Dev Anand era, but today’s films positively revel in these references, which range from song remixes to plot points (the Dev Anand segment in Tamasha) to what we have here, songs that link to specific moments. For instance: Do naina ek kahani to depict Bindu’s state of mind after a tragedy.
But this, too, is just a thing, like Abhi’s smoking. He doesn’t even inhale. But it’s a bit of colour for the character. We’re meant to accept it without question. Just like his ending up a pulp-fiction writer, churning out titles like Chudail Ki Choli. How did this Fellini and Sergio Leone-loving man (he also has a giant poster of The Good, the Bad, and the Ugly) discover his inner Roger Corman? Never mind. It’s just meant to make Abhi more interesting than he is. It’s just a… thing. It’s like Bindu wanting to become a singer. Why? Just because.
Take Ae Dil Hai Mushkil, a film that’s impossible not to think about while watching Meri Pyaari Bindu. Both are named after popular Hindi-film songs of a certain era. Both feature a character who wants to become a singer. Both films insist that the leads are movie-mad. (Abhi’s email handle is muqaddarkasikandar77.) Both stories prowl cautiously around what Abhi calls the LOC between friendship and love.
But when Ranbir Kapoor switches on the Tohfa song and begins to shake his booty, or when Anushka Sharma declares herself a “filmi bachchi,” we believe them. Their madness seems deep-rooted, something in the DNA. Here, when an Aradhana moment is recreated, we get the sense of the writer and director high-fiving in a room about how fun it would be to have Abhi pass by Bindu (who’s in a bus) to the strains of Mere sapnon ki rani. It’s cool. It’s a thing. We are supposed to think Abhi and Bindu are into these songs because the screenplay says so, not because the film convinces us so.
Meri Pyaari Bindu simply plays lip service to this music. There’s a point we think there’s something more, when the Padosan song that gives this film its title is recreated, with some charming, off-the-cuff choreography. But the song isn’t allowed to play out in its entirety. The ultra-plasticky Ye jawaani teri, however, we get in full. This is one of the original songs in the film, and its choreography is in that full-blown shimmy-shake style that plays well in promos and makes people think they’re in for a rocking time.
There’s certainly no rule that an Ae Dil Hai Mushkil-like premise cannot be played at a rom-com pitch – but Meri Pyaari Bindu is more like a sit-com. It keeps trying to shoehorn a serious story into a feather-light style.
This style works for scenes like the one where Bindu’s father (Prakash Belawadi) points to the bicycle she rode as a kid, and Abhi points to a specific dent caused when a lamppost came in the way. We see how Bindu’s father can never hope to know her the way Abhi does.
This style works in the scenes with Abhi’s parents (the terrific Aparajita Auddy, Rajatava Dutta). He realises he cannot stay at home and write (too noisy!), so he checks into a hotel, and then he realises he’d rather be at home, so he returns, dragging his suitcase and mumbling an excuse. His father doesn’t even let him finish. Smiling broadly, he says, “We were also missing you.”
But these are generic moments, generic parent-child situations. They don’t need much detailing. Abhi and Bindu, however, need more specificity – especially Bindu. Parineeti Chopra is wonderful when she confesses she’s confused about marrying Abhi – but elsewhere, she comes across like a generic Bollywood heroine, which is the last thing she was. We are all aware of the pressures that make a perfectly pretty girl feel like an ugly duckling that needs to hit the gym and transform into a swan, but one can only hope that this decision to “conform” does not erase this actor’s endearing individuality.
The core of Meri Pyaari Bindu is about the One That Got Away. The film wants to subvert the great Indian romance, but this remains just a conceit because the director wants to keep everything light and breezy. Major developments like Bindu’s reconciliation with her father are wrapped up in one throwaway scene. What’s needed is therapy. What we get is a band-aid.
The ending is especially odd. I loved the idea. But it’s way too much of a stretch given this film’s tone and the glibness with which it treats its characters. I didn’t even see why Abhi thinks he’s meant to be with Bindu. The film presents her almost exclusively as his creation, seen from his point of view, but this would have worked had he seen a goddess where we see a self-absorbed, demanding woman. But she’s the same through his eyes as well, and it’s hard to fathom the attraction. Abhi is such a puppy dog that he comes off as spineless. But I suppose veering off into his ego issues, for instance, would have made the movie more “serious.”
This isn’t a plea for more drama (or melodrama). I’m just saying that keeping things light is one thing, and merely scratching the surface is something else entirely. You cannot just present a bunch of bullet points about Abhi and Bindu – smoker, singer, pulp-fiction writer, Bengali, Tamilian. You have to make us buy these points.
It’s left to Ayushmann Khurrana to keep the film going. He may be the most underrated, underutilised comic actor working today. Just watch him sell his proposal to Bindu, quailing at the prospect of rejection, and yet determined to present a blasé face. Just watch him in the dumb charades scene, where he makes horniness the most charming thing on the planet. Abhi’s yearning for Bindu isn’t half as moving as the fact that this actor just can’t catch a break.
Copyright ©2017 Baradwaj Rangan. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Devarsi Ghosh
May 14, 2017
I don’t know why but may be because I am used to it… I like reading your reviews with longer, thick paragraphs.
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dk bond
May 14, 2017
Thank you. This is a really nice review.
What irked you, actually made me really love the film. It’s probably because I don’t know Tamil enough to have problems with authenticity (the South Indian Christian thing was grating though), but they got the Bengali portions quite perfectly. It was the right amount of detailing (sleeping on the floor, the mother’s manipulation) for me to believe that the writer/ director was sharing a part of his life, even though I could not really imagine the actors (as good and charming as they both are) as being the people they were playing. Especially Parineeti, I kept thinking how much better her pleasantly plump and normal looking self would have fit the role.
Also I kept thinking of Ae Dil Hai Mushkil too, throughout the film but to opposite effect as you.I kept thinking that this was such a nicer take on the issue, with the hero being mature and giving Bindu her space and not taking up all of the film with his whiny man-child act. There Anushka gets the short shrift as a character, we know nothing about her except her tortured love story and her sudden illness. Here, the hero takes up a disproportionate amount of screen-time as well, and he starts off with a really glib description of the heroine. But (I thought) we slowly saw who Bindu was as a person through his eyes. Like her response to his owning up to his feelings (the three words every Bengali wants to hear – korbo, lorbo, jeetbo) is as telling of her character as is the whole scene of him and their relationship. And he is constantly fair to her. When she moves to Bangalore, he tells us that she wrote to him continuously. Or even before when they drift apart due to distance, he is the one who finally stops writing to her. And then the movie reminds us at the end that her version of the story would have been different.
And the ending. That was one part that made me realise how right you are when you say that movie watching is a personal exercise – and your own life experiences are going to completely colour the movie watching experience. Because by the time I realised where they were going with it, I had stopped caring about the execution and was weeping about the lovely idea that there is no happily ever after. Just happily in – the – now. It’s certainly not a new idea, but it takes every young adult some time to adjust to it, and our movies certainly barely ever show it. That you might not have the professional life you had envisaged (she as a singer but also him – nobody wants to grow up to write shady fiction) or the personal one, but you can still be happy.
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brangan
May 14, 2017
dk bond: I agree that there are lot of interesting decisions in the film’s writing. My problem was that the film was too glib about addressing them. I just wasn’t convinced or carried along at any point. I just didn’t believe they were the things the screenplay said they were. It was all surface-level.
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Rishikesh
May 14, 2017
I get a feeling that the new breed of film makers are taking some of the prime factors for granted, take the meandering portions of the film set in mumbai..you could sense the effort put in to write quirky lines, or make it visually appealing..but who cares about all these..when the characterisation and conflicts are extremely weak…there’s nothing to keep you engaged..the film never bothers to cut to the conflict…as you said, it could be so to make the film consistently light, rom com-ish..clearly works against the film..I didn’t understand Bindu at all..if she is fine with abhi (it is her state of mind that forces her to refuse marriage with him) why doesnt she marry him instead of getting into an arranged marriage with a so called Nair…
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Rishikesh
May 14, 2017
I Understand Abhi’s affection for Bindu..but why doesn’t Bindu reciprocate the feelings..If she had friendzoned him like Anushka’s character in ADHM, then what makes her transform and accept his proposal..A movie solely concentrating on its lead actors should cannot afford to leave such questions unanswered…none of this feels interesting either…
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Vinamra
May 14, 2017
Hello Sir, big admirer of your reviews. Coming to Meri Pyaari Bindu, I have two questions regarding the male lead, both related to his professional and personal journey.
In one scene, a character asks Khurrana, who aims to be a writer, to write about sex as it sells and that’s probably the only time people don’t judge each other’s dress sense. The actor, visibly discomforted at the idea at first, agrees as he realizes what the man said isn’t wrong. Switch to the present, where our hero is immensely popular and successful. My first question would be- How did you react to our protagonist’s professional success, given the fact writing about sex wasn’t ever his forte or temptation ?
Secondly, in Ae Dil Hai Mushki, Kapoor’s character personally came across as egocentric and self-centered. Unable to swallow the fact that Alizeh (Sharma) only sees him as a friend, he relentlessly tries to pursue her in the hope that one day she’ll reciprocate. However, in this film, we’ve a hero who’s altruistic, he doesn’t care what he wants, he’s actually more concerned about what Bindu wants, as made clear in a confrontation after Chopra’s album’s drastic failure.
How would you describe Khurrana’s character within the spectrum of his personal journey ?
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raghu kiran
May 14, 2017
I felt it to be an adaptation of vinaythandi varauvaaya esp the second half structure.
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Shvetal
May 15, 2017
Hello.
I like your take on the film and can see where it is coming from. Like DKBond above, though, I was moved enough by the film to not mind some of the problems. I also felt strongly that she was a terrible Tamilian, and I spent some time trying to think who else they could have cast from within the contemporary commercial framework. (Digression: only Deepika seemed a satisfactory option, which probably says as many things about me as about the state of heroines in Bollywood in general.)
To me, the Ayaan – Alizeh relationship is not the Abhi-Bindu relationship. If anything, it is the absent but understood Fawad-Alizeh relationship that it carries parallels of. In that, it is the defining love even as other affections come and go by, but it need not always have the happy resolution. It is the love that can hurt you much more deeply than friendships and other casual relationships. I know that it is Ayaan’s story that we see on screen, and I can understand the temptation to call him whiny and self-obsessed, but it is in fact actually Fawad’s character who breaks her heart in such a way that she does not even want to tell him she is dying, even though they were married at one point of time. He is the Heathcliff to her Catherine, as it were.
And yes, I too loved the ending and the lines she says before the song. So often, the Mr. or Ms. Right is actually Mr. or Ms. Right Place, Right Time. You could have loved as intensely at some other point of time in your life, or perhaps even more, but that didn’t translate into marriage because the circumstances were different and who you were at that point of time in your life was different. And that not all relationships can be reduced to their final moment.
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Shvetal
May 15, 2017
And yes it reminded me too of Vinaythandi Varauvaaya, especially the happier ending in fiction and the more real ending after it.
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Aditya (Gradwolf)
May 15, 2017
I bought into the nostalgia part quite heavily and ended up reading it differently for my own pleasure. (apologies for unintended lack of flow/closing, I am pasting stuff from my review)
I thought Bindu herself was a manifestation of cinema for Abhi and his love and longing for it, how he grapples between love and hate as he grows older (and cinema shape shifts, changes, grows, regresses) and how he cannot live with it or without it. The film itself begins with that homage to La Dolce Vita.
Bindu waltzes – quite literally – into 10-ish years old Abhi’s life and her first act is to hang a pair of headphones over him. Is it Abhi’s first realization that he is into cinema? Isn’t that roughly the age when a lot of us realize our love for cinema, music or any art but struggle to understand or define the feeling in absolute terms? They spend almost every waking hour together. The film works as boy-fascinated-by-girl-who-exists-only-in-dreams story too and it is a far more grown-up version. What is cinema if not dreams coming alive on screen. Belonging to the last generation that had only Doordarshan for entertainment, Bindu even becomes a Tylder Durden sort of figure in Abhi’s life who helps him and accompanies him in watching Chitrahaar.
They (the writer and director) present their relationship with Hindi films, warts and all, remarkably stripped off irony. There is a tendency, specially of late, to look back at things we loved as children with more than a tinge of embarrassment. To look at them with trained eyes, freshly adopted ideologies (and when placed in proper context, there is nothing wrong with that). The pair (both, the film’s couple and writer-director) would have none of that. Even the matured adult Abhi would say, “Kanchi? Hoga tumse pyaara kaun wala?” with admiration in his eyes.
But then, as always, life happens. Bindu moves away. Abhi has to make a livelihood. At some point, an obsession creates space for disillusionment. Cinema mutates. Bindu was once close, almost like another home. Bindu is now in Australia. She then goes to France. Films expand in scale. Abhi is at first discomfited but the vagaries of adulthood keep him busy. They meet again just before mid-2000s in Goa and connect. The post-Dil Chahta Hai world of Hindi cinema is here. Something happens in Bindu’s life that brings them together like before. His mundane post-MBA life lights up again. Is it Roy and Sengupta expressing relief in entering the multiplex age, escaping the dreadful 90s?
That’s ultimately where Abhi’s love for Bindu gets wrapped in irony. He writes pulp horror with titles like Chudail Ki Choli and Awara Dhoban. The man who once literally enacted Mere Sapnon Ki Rani and Silsila is asked by his publisher to not try to be Gulzar. His roommate watches Big Boss that he despises so much because his past heroes like Rahul Roy of Aashiqui are reduced to laughing stocks for TRPs, in a world where Doordarshan is not the only thing on TV. He’d rather spend time with memories of Bindu instead of today’s pop culture (and his girlfriend) at home. Even the film he wants to watch with Bindu is Om Shanti Om – something that celebrates a bygone era of cinema, nostalgic for a forgotten brand of fans and filmmakers. When he is sick of all his books, he returns to his roots to write a love story. His manuscript flies helter-skelter in the breeze the way Bindu used to make his exam papers flutter all over the classroom. Meri Pyaari Bindu becomes less of a love story and more of a wall to hang frames, yearbooks and memories of Hindi cinema for Roy and Sengupta.
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prasunb (@prasunb)
May 15, 2017
@dkbond … They got the Bengali parts perfect ??? Get me one bengali chap born and brought up in Kolkata who says Samosa and not Singhara !!! Things that were right would be the mother (Aparajita’s best for me though is Praktan), father, surrounding relatives, carrom, locales !!! A supposed disco setup song needs ppl doing jugglery with footballs to reinforce Kolkata ? Bindu loves Bubla in a full sweater … no monkey cap ???
Completely agree with the view that this seems more like a director / writer’s version of the films & music they loved and miss … selling the nostalgia packaged as a new story !!!
The acting is what keeps the film going !!!
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Naveen
May 15, 2017
class BR review. enough to read the review alone.
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gemmazemma
July 18, 2017
Wow, hot damn. I haven’t read your entire review, so I realize it’s patently wrong for me to comment before I do. But I just had to stop when you compared ADHM favourably to Meri Pyari Bindu. I love your reviews. I really do. But, I think this is the moment, where it’s just over 😀 #melodrama. You didn’t believe he was a hindi movie fan? But you believed those two idiots in ADHM trying harder to look hot rather than be fanboys/girls were?! I guess movies really are in the eyes of the beholder.
Seriously, I’m still in shock. And going on about Fellini and the smoking? I guess KJo is simply held to a far lower standard than other newer directors, eh?
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gemmazemma
July 18, 2017
“We are all aware of the pressures that make a perfectly pretty girl feel like an ugly duckling that needs to hit the gym and transform into a swan, but one can only hope that this decision to “conform” does not erase this actor’s endearing individuality.”
I really should not have bothered reading the entire review. I think this might be a generation gap issue – you’re closer to KJo age than this director’s and it’s telling. ADHM didn’t hit a single right note with people my age. This movie hit every single one of them, with everyone I know. The songs, the nostalgia, the tape winding, even goa felt closer to reality than how it’s usually depicted. As for Bindu’s character not being fleshed out – that is acknowledged in the end- the movie is completely a representation of Abhi’s memories, not hers (See – 500 days of summer).
We need younger reviewers. Really disappointed reading this review, sir.
PS: Please don’t write ‘we’ didn’t believe, as though you represent someone more than yourself. Just a quick tip 🙂
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Rishi
December 31, 2017
Finally got to see this movie and I’m a little confused by the comparisons to Ae Dil Hai Mushkil… in that movie, the stars were tipping their hats to old Bollywood and that was it. Here, you got the feeling that old Bollywood really permeated their lives.
I really liked Meri Pyaari Bindu a lot.
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Dassmi
June 19, 2018
Beautifully reviewed. Really disappointed with the movie. The generalisation of Bengalis is what irked me the most. What was supposed to be sweet seemed all artificial. It seems the director sat with a checklist of Bengali stereotypes and was eager to tick them off.
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