Ram Prasad Ki Tehrvi review: A gentle-but-sharp excavation of family politics


Ram Prasad Ki Tehrvi solid: Naseeruddin Shah, Supriya Pathak, Vinay Pathak, Konkona Sen Sharma, Parambrata Chattopadhyaya, Vikrant Massey, Manoj Pahwa, Deepika Amin
Ram Prasad Ki Tehrvi director: Seema Pahwa
Ram Prasad Ki Tehrvi score: Three stars

Seema Pahwa, who has found a second, fruitful wind as an actor in mainstream Bollywood family dramas, comes up together with her personal model in her directorial debut. The giant family of the expensive departed Ram Prasad (Shah) gathers of their ancestral Lucknow house until the customary 13th day ceremony, and previous secrets and techniques and grievances come tumbling out: of what use is a loss of life if it doesn’t result in catharsis?

Anyone acquainted with sprawling, messy North Indian joint households will recognise the beats: mourning turns into a tragi-comic factor, with everybody– sons, wives, kids, and varied kinfolk—reminiscing, squabbling, wandering out and in of areas colonised by folks they don’t recognise, pressured right into a closeness which is able to dissipate as quickly because the ‘tehravi’ is over. When kids develop and depart house and begin their very own households, all the things modifications.

‘Kaise hua’? This query retains popping and up, and Supriya Pathak, the inconsolable spouse and the mom of the various little kids (Ram Prasad ki ‘fauj’, as an elder daughter bitterly phrases the brood), begins to sound like a caught document. The sons (Pathak, Pahwa and Chattopadhyaya, who additionally stands in for a youthful Ram Prasad, get the most effective sequences) marvel why their father needed to take out ‘such a big loan’, the ‘bahus’ gang up on the youngest (Konkona), who lives in Mumbai and goals of changing into a film actor. Those jibes are acquainted too: any daughter-in-law who doesn’t play by the principles, and desires to do her personal factor, is truthful recreation.

Pahwa’s chamber drama is a gentle-but-sharp excavation of family politics, of how the ties-of-blood can typically get diluted, but in addition strengthen when a life-changing occasion like loss of life happens. You discover the little touches: a neighbour whisking away her cushion from behind a mourner (kharaab ho gaya ya kho gaya toh?), one son sporting the daddy’s jacket (‘amma ne diya’, he tells the sharp-eyed youthful brother), who will get to make use of the lone rest room first (loos can result in main disputes), and at last: what subsequent? Who is liable for the mom, and what’s going to occur to the large home in a city everybody has left?

Quite usually, the movie reminds you of comparable conditions you’ve been in. In some locations, I discovered the acerbic overhang and the good-natured ribbing turning into one thing edgier, the standard which makes this type of movie stand out, dissolving a bit. But then the director sweeps them up collectively, and we’re again to being bystanders, amused and bemused, suddenly. Anything can occur, even in the most effective households: once we depart her, Mrs Ram Prasad is readying for a second innings. Yes, she is carrying ahead her ‘sur-loving’, piano-playing husband’s legacy, however she can be doing this on her personal, for herself. Not a sorry-for-herself wallowing widow, however a wanting-to-get-on-with-it lady. Hallelujah.


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