Spoilers ahead…
In Helicopter Eela, Kajol plays a single mother named Eela — though if you expect straggly hair, ketchup-stained clothes and eyes glazed over from supervising homework, you’re in for a disappointment. The light on Eela is always just right, and it accentuates her makeup just so — even when she’s in a hospital bed after delivery. The pains of labour are only on her face. The lipstick is just so — not rolled on with a tube, heaven forbid, but painted on with the kind of reverence Michelangelo lavished on the ceiling of the Sistine Chapel. The lips are always parted just so — the smile stopping just short of creating a crease, or three. The cheeks, too — they shine like wax apples. And the fake eyelashes practically scream out for an award category of their own: Best Supporting Duo. We get it. We aren’t here to watch Eela. This is really Kajol telling us she can still make it to a Cine Blitz cover, circa 1995.
Pradeep Sarkar was ostensibly hired as director based on his reputation for making cinema that is woman-oriented. But Helicopter Eela is merely Kajol-oriented. She looks the same whether her son is a toddler or a college-goer. (His name is Vivan, and he’s played by the affable Riddhi Sen.) The vanity would be easy to overlook if there was at least a good performance — but the entire film is essentially Kajol posing in front of a mirror and saying, “I’m fabulous and I’m letting you know it.” In the early scenes, set in the nineties, she plays a wannabe singer. When she’s called for a dummy track for Anu Malik — it goes Ruk ruk ruk — she gyrates in the recording booth like Lata Mangeshkar possessed by the spirit of Helen. Anu Malik is impressed. He says, “She’s fabulous and I know it.”
Vivan, too, thinks Eela is fabulous — never mind that she’s a suffocating mother who uses her son to fulfil her emotional needs. Eela is a “helicopter” parent, always hovering around Vivan — and despite her tendency to keep barging into his bedroom (and in one troubling instance, his bathroom), Vivan never thinks of locking the door. He keeps mouthing the odd line about needing space, but it just sounds like a mildly grumpier version of “You’re fabulous!” Vivan seems strangely balanced, but Eela is another story. When Vivan doesn’t show up for a movie Eela has booked tickets for, she begins to climb the walls as though she were this close and the battery in her vibrator died. I’m only half-joking. This is a seriously messed-up relationship that would keep a battery of therapists in a Swiss facility busy for decades, but the screenplay — which sets a world record for the number of times a teenager utters the word “mama,” and whose pages appear to have been strung together with an umbilical cord — treats it all like a comedy. (It’s based on the Gujarati play Beta, Kaagdo.) Haha. Look, Eela has barged, yet again, into Vivan’s room and when he complains, she reminds him that she changed his diapers. In a sane world, he’d get a restraining order and consider putting out a #MeToo tweet. Instead, he just says, grumpily, “You’re fabulous!”
The only person unconvinced about Eela’s fabulousness is her husband, Arun (Tota Roy Chowdhury) — but then, he’s got bigger issues. He leaves Eela and the young Vivan because… Guru Dutt died in 1964. Not really, but the actual reason is no less weird. As is the character. You’d think someone who abandons his wife and child would walk around with some amount of existential baggage, but when he waltzes into their lives again, some twenty years later, he behaves as though he went shopping and couldn’t get a cab back home. Eela doesn’t shout or demand explanations — her eyes well up as much as they can without endangering the mascara, and she looks sorrowfully at Vivan, as he walks in from college. Right there, we have the germ of an infinitely more interesting movie, Oedipus Rex: Daddy’s Not Dead.
The father departs, leaving behind an artily designed diary that looks significant, presumably containing the answer to the Meaning of Life. Eela doesn’t so much as glance at it. Helicopter Eela makes it very clear why Eela has no place for another man in her life. When her mother-in-law suggests that she find someone new, Eela says there’s no guarantee that this man won’t leave her, too — and the only male figure who will never leave her is her son. Why any of this is supposed to be funny (as opposed to a Bermanesque psychodrama, directed by Lars von Trier) is anyone’s guess. The second half is about Eela finding herself again, and this she does by… joining the college her son goes to. (Still think I’m overthinking the Freudian subtext?) Is she serious about studies? Is it just to alleviate her loneliness? Who cares! The song-and-dance climax plumbs hitherto uncharted depths of godawfulness as it hoists Eela on a stage and makes the college — and by extension, the world — see how fabulous she is. In comparison, a Cine Blitz blind item, circa 1995, comes off like Hamlet.
Copyright ©2018 Baradwaj Rangan. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Ankit V Nahar
October 12, 2018
I am heartbroken reading the review. Kajol was my favourite actress. In the last few years, she has focussed too much on her looks and the vanity is reflective in her recent performances (Dilwale and Helicopter Eela). She has become self-obsessed. What made Kajol stand out in 90’s was that she never gave a damn about her looks and that is what made her different from other actresses. Currently, when actresses are uninhibited and real, Kajol seems to be doing the opposite. Sad.
LikeLiked by 1 person
Anu Warrier
October 12, 2018
I’ve always found Kajol OTT. Always. She was loud, irritating and painful. I still remember her at the premiere of Bekhudi. She was loud, irritating and painful in real life as well. Since Pradeep Sarkar is the one who made the goddawful Laga Chunri Mein Daag, which made me forget a relatively subdued-until-the-climax Parineeta, I was going to give this a miss anyway. Especially since Nil Battey Sannata did the ‘mother-joining-the-kid’s-school’ bit so much better. I’m glad to know it’s as awful as I expected.
LikeLiked by 6 people
MANK
October 12, 2018
Anu, you interviewed Kajol at the bekhudi premeier?
I hear she is quite obnoxious and rude in real life
Kajol was always a loud actress. But there were some characters in which her style was well suited. Say KKHH
LikeLike
Vivek
October 12, 2018
Thank god for these movies! If not for them, we wouldn’t get this riot of a review! I remember your “Tera Suroor” review, still can’t stop laughing thinking about the villain playing bongos!
You should carefully save these and release a book like what Jeremy Clarkson did with his Sunday Times pieces & car reviews.. “The movies according to Baddy” a la “The world according to Clarkson” series..
LikeLiked by 2 people
Ravi Sastry
October 12, 2018
that’s a nasty review from BR i haven’t read in a while. I can now imagine how horrible the movie would be. Thanks for all the work that you put in your reviews.
LikeLike
rsylviana
October 12, 2018
When Vivan doesn’t show up for a movie Eela has booked tickets for, she begins to climb the walls as though she were this close and the battery in her vibrator died.
You did not just say that!!! 😀 Damn, Baradwaj “Savage” Rangan is back ! 😂
LikeLike
Anu Warrier
October 12, 2018
No, MANK, I did not. And thank heavens for that! But I attended the premiere. She was loud, obnoxious and screaming at the top of her voice – it was a spectacle. GIve me Rani any day! Whether it is her public demeanour or her performances onscreen.
LikeLiked by 2 people
Anuja Chandramouli
October 12, 2018
I love it when BR makes like Wolverine and slashes a movie to shreds!! Agree with Vivek, this is up there with the Aap Ka Suroor reviews. Hyuk!
LikeLike
ravenus1
October 13, 2018
Hahaha BURRRNNN!
LikeLike
Vikram S
October 13, 2018
BR, this one was expected to be doa…. enjoyed reading your review…the false eyelashes seem to have moved from Nayantara to Kajol…
I have a question for you…which of Kajol’s performances have you liked…
LikeLike
sunitha sudarshan
October 13, 2018
Wow.. don’t you have a way with words !!! I am so glad someone broke the myth about Kajol being such a fantastic actress..maybe she is but we haven’t seen it yet. I haven’t yet recovered from her ott performance in KKKG and was flabbergasted she got an award for it too. Give me her Mom, Tanuja’s unadulterated effervescence any day or the depth of her aunt, Nutan!
LikeLiked by 1 person
Voldemort
October 13, 2018
The lipstick is just so — not rolled on with a tube, heaven forbid, but painted on with the kind of reverence Michelangelo lavished on the ceiling of the Sistine Chapel.
Wah wah. Your snarky reviews are the best. Remembered the Race 3 review, that one was a riot too.
LikeLike
Apu
October 16, 2018
Wow, that was a fun read – very snarky! 🙂
I do think Kajol has great screen presence. Though I hardly liked her in Baazigar, I thought she was great in DDLJ and she made me cry in KKHH, In fact, (yes laugh at me) – I believe I liked U, Me or Hum only because of her.
However, off late she has become too perfect. One of the things that I liked about her, once I got used to her awful dress sense off screen, was her imperfection, but now she seems to be, as BR puts it ” telling us she can still make it to a Cine Blitz cover” and so, has become too plastic.
I thought the premise was similar to Melissa McCarthy’s “Life of the party” but I am sure there has been many more movies like this.
LikeLike