The colour palette is the kind you’d find in a catalogue, among choices like “aqua” and “ecru”.) The director’s success is that all this “good taste” doesn’t come in the way of feeling for the characters.
Spoilers ahead…
Shonali Bose’s The Sky is Pink opens after the death of Aisha Chaudhary (played by Zaira Wasim), a real-life motivational speaker diagnosed with pulmonary fibrosis. Her parents — Aditi (Priyanka Chopra Jonas), Niren (Farhan Akhtar) — wake up at night. Aditi wanders into Aisha’s room, and cuddles up with Aisha’s dog. Niren walks up to the same room, but is stopped by an invisible force field made of grief, guilt, and a number of the things experienced by men who feel they haven’t done as much as their wives. Or maybe he’s just in denial. Whatever it is, he looks at Aditi inside the room he cannot enter and he walks away. This is the present day. Niren is ready to close a chapter. Aditi wants to keep re-reading a page. Will they get past the sadness and have a happy ending?
The Sky is Pink, however, is a very happy movie, as happy a movie as can be moulded out of interminable sadness. Aisha is the narrator from beyond the grave. She is a cheery narrator. It makes sense. She is finally free of the oxygen tanks and hospital visits and tests and everything that was weighing down her youth. The director, if anything, is even cheerier. Imagine a situation where Aditi and Niren fly to London for a bone marrow transplant for their little girl and find out how much it costs. Instead of screams and tears from the couple, we get this line from Aisha: “Mushkil se London jaane ke paise jama hue the. Yahan aake pata chala ki chand par jaane ke paise jama karna hai.” The translation will probably kill it, but it’s a line with wry humour. And what happens, soon after, is a Christmas miracle right out of a Frank Capra drama.
And what about the scene where Niren learns that his son (Ishaan, played as an adult by Rohit Suresh Saraf) may not be his son after all? It’s a “did my wife cheat on me?” moment. It plays like a Friends moment. Or the scene where Aditi finds refuge in Christianity? We don’t see arguments, doubts. We just see the ceremony she goes through. Even when Aditi has an acute psychotic breakdown from the stress of caring for Aisha and is admitted to a hospital, the writing — which goes back and forth in time, and is by Shonali Bose, Juhi Chaturvedi, Nilesh Maniyar — bounces back with a joke about how Aditi’s absence makes Aisha more productive. The story is a downer. The film isn’t.
There’s no phlegm or blood or vomit. There’s an appealingly tasteful middle-classness — and later, after Niren and Aditi become rich, there’s an appealingly tasteful upper-classness. (The colour palette is the kind you’d find in a catalogue, among choices like “aqua” and “ecru”.) The director’s success is that all this “good taste” doesn’t come in the way of feeling for Aditi. “Mujhe Aisha ke alava kisi aur ke liye kuch karna aata hi nahin,” she says. (I don’t know how to do anything for anyone else but Aisha.) It’s a piercing line. Aditi has given herself over to Aisha to such an extent that when Aisha dies, she cannot deal with the huge absence in front of her. Or rather, she deals with it by making this absence a continuing presence. After all, it’s just Aisha’s body that’s dead. Her soul or aura or whatever is still around. At least, that’s what Aditi says.
Priyanka sells the sadness (and the underlying humour) brilliantly, but the character — she even knows where extra oxygen masks are kept on a plane — could have used a little more craziness. I kept thinking of Hrishikesh Mukherjee’s Mili and Anand on the one hand (upbeat weepies, both), and James L Brooks’s Terms of Endearment on the other. In the latter, Shirley MacLaine plays someone like Aditi, a mother obsessed with her daughter, especially when the latter is diagnosed with a fatal illness. She cooks the character with just the right amount of kookiness, so it’s not just pure and undying maternal love. That’s why the scene where Aditi attempts to strangle Niren works so well. It’s like a wardrobe malfunction during fashion week. You feel bad for the model, but there’s suddenly some electricity in the air, crackling through the genteel goings-on. You sit up with a What!
Where does the title come from? As a child, Ishaan colours the sky pink and is reprimanded by his teacher. (Hasn’t the woman heard of a sunset?) Aditi tells him there’s no need to change it. It’s a shaky metaphor, but it fits. If pink is not the “normal” colour for a sky, this is not a “normal” family either. Hell, Aisha calls her parents Moose and Panda. It sounds like Noah Baumbach’s The Squid and the Whale, which stood for the parents there. But that film was a cactus farm. This one’s a basketful of kittens. Zaira Wasim even looks like one.
The metaphor also suggests a sense of being closed-off. Aditi could be saying: The rest of you guys may live under a blue sky, but we are happy in our pink-sky world. Accordingly, the rest of the world is almost absent. There are, to be sure, grandparents and maybe-boyfriends and the house help, but these characters are like salt and pepper. The main course is Aditi, Niren, Aisha, Ishaan. And how could it be otherwise? Aisha may have a breathing condition, but she’s sucking up all the oxygen in the room.
This claustrophobic cosiness is something I slowly warmed up to. The gangly Rohit Suresh Saraf has a goofy laidback-ness that makes you see why Ishaan isn’t upset that everyone’s attention is always on Aisha. The backslapping brother-sister relationship is terrific, and there are lovely, lump-in-the-throat scenes like the one where Ishaan consoles Aisha when she’s down. Is it manipulative? Sure! But the “I went scuba diving and my world changed after seeing a striped fish” scene here plays much better than it did in Zindagi Na Milegi Dobara. Maybe it’s because the epiphany sits better on a teenage girl who hasn’t got much time left.
The manipulation comes with a side of dignity. Mikey McCleary’s music, for instance, uses quirky instruments like the accordion and perfectly conjures up the movie’s mood: bittersweet, but not too bitter, and more on the sweet side. (Pritam’s songs, though, seem both unmemorable and wasted.) Can there be such a thing as too much dignity? I wanted Niren’s speech, post Aisha’s death, to wallop me like Anand’s cry of “Babumoshai” after he dies. But Farhan acquits himself well (even if he’s really the last actor who comes to mind when the character is supposed to be made of “Chandni Chowk ki mitti“) He’s always been good with the light stuff. Watch his face when he sees a boy making himself too comfortable around Aisha. But also watch his face during a Mexican standoff with Aditi in a hospital. He says he wants a lung transplant for Aisha. But Aditi argues against it. As she begins to explain why, the camera freezes on Niren’s face as Farhan turns the knob through all the stations from defiant to unsure. His prickly performance elevates this material, which could have ended up maudlin or twee. The kittens are adorable but the cactus makes you wince.
Copyright ©2019 Baradwaj Rangan. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Srinivas R
November 12, 2019
You always ace the closing line, don’t you? Brilliantly written.
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rsylviana
November 12, 2019
Aisha may have a breathing condition, but she’s sucking up all the oxygen in the room.
Damn !!! That was brutal BR !
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brangan
November 12, 2019
Thanks, man!
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brangan
November 15, 2019
Not many people watched this?
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Madan
November 15, 2019
I didn’t. And not many of us seem to have. It did ok business at the BO. There was hardly any buzz about it, surprisingly so, given the cast.
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tonks
November 16, 2019
I’m not excited enough by the buzz to summon up the enthusiasm to watch it on the big screen. But I’m definitely going to watch it when it streams. As it will, soon. This blog will get the great privilege of my two cents then.
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tonks
November 16, 2019
But in any case, it is not in the theatres in my town yet.
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brangan
November 16, 2019
tonks: No worries. In any case, I see this being the trend hereon. Except for the ‘major” films, I think comments will trickle in after people watch on streaming services.
In other words, the golden age of commenting on this blog is over 😀
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tonks
November 16, 2019
That is sad. One of the things to look forward to after watching a movie were the conversations here. I really miss that these days when I watch a movie months after the release and no one responds to my observations.
But the convenience of streaming is such that these days I only go to the theatre for what I know will be visual/auditory spectacles that will lose the punch on a small screen.
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tonks
November 16, 2019
But for some particular reason this movie is not playing in my small town. Not even in the multiplexes.
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tonks
November 16, 2019
Maybe it played briefly and I missed it
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Madan
November 16, 2019
tonks: It released in October and it’s come and gone. It bombed at the BO. As I said, the lack of publicity for it was strange.
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tonks
November 16, 2019
I’ve missed some movies I had been meaning to see but which may not have got a lot of publicity and which have a very short run, especially in small towns. Two such movies I regret very badly not catching are Downton Abbey and Yesterday. Would any of you know of any way I could get notified of specific releases I may have an interest in? An app or something maybe?
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Kay
November 16, 2019
I’m waiting for the online streaming of this movie. Although, I don’t know how I’d feel about watching it since the story is triggering. It’s exactly why I have ‘When breathe becomes air’ book but haven’t got the courage to read it.
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Amit Kumar
December 12, 2019
Your post was worth the read…very meaningful… with a lot of insight.
Seems like this is a must watch movie. Having watched director Shonali Bose’s previous works like “Ammu”, “Margarita with a Straw”, I was expecting great things from this movie too.
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krishikari
December 17, 2019
It’s sweet, sad, poignant and brings some tears to the eye. There’s a puppy. Fits right in with all the Christmas movies without being downright silly. Watched this recently on Netflix, and yeah it’s the kind of film I would not go to the theatre to watch. Reminded me of the Prithiviraj and Nazriya film Koode which I thought liked a lot better for the more complex brother-sister dynamic. I feel like this cheerful dead teenage girl narrative voice is now almost a trope.
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krishikari
December 17, 2019
@tonks “I really miss that these days when I watch a movie months after the release and no one responds to my observations.”
Please let’s change that! I really want to talk about Parasite.
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Kaushik Bhattacharya
January 4, 2020
With two little children, I watch most things on streaming nowadays and almost always come back to BR’s review (and the comments of course!) after that and occasionally add a comment of my own. Surely there must be other readers of the blog out there like myself?
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| Purvasha |
May 26, 2020
The words you’ve described this with, wow! Nice blog. Just done with the movie and agreed!
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