'Piku' is one of the very few Bollywood movies I have seen which is named after the female protagonist, rather than the male one. That, in itself is a rarity. Add to it, a wonderfully sensitive, understated, elegant portrayal of two very strong characters, and you have a very thought-provoking movie experience awaiting you.
The director of the movie is Shoojit Sircar, who directed 'Vicky Donor', the scriptwriter is Juhi Chaturvedi and the two main characters are Amitabh Bachan, playing the role of Bhaskar Banerjee and his daughter Piku who is an architect. Peering in from the periphery at first, later becoming a character in his own right, is Irfaan Khan, in the role of Rana Chowhury, the owner of a cab-rental service.
Bhaskar Banerjee is an old widower, father of Piku. He is obsessed with the state of his alimentary canal: and his constipation and minute-by-minute reports about the state of his motions form the topic of all conversation. He is selfish to the point of being egocentric, and keeps an eagle eye on his daughter, so that she will not go away and leave him to fend for himself. Every time someone introduces a man to his daughter, he makes sure to tell the man that she is 'not a virgin' and that she is 'financially and sexually independent.'
Piku is Deepika Padukone. She carries the entire movie on her shoulders through the conviction in her acting and the complete honesty with which she portrays the character of a fiercely independent career woman, managing her profession and battling it out with the whims of her quirky father. The few times that circumstances seem to defeat her, and the way she emerges from it, stronger and more courageous, are portrayed with a sensitivity that I have not seen in any Bollywood director. I don't think any other actress would have the guts to bury herself up to the hilt in this necessarily un glamorous role.
Looking in at the daily drama of this more or less dysfunctional family, is Irfaan Khan, one of the most stylish actors I have seen. I remember him in 'Maqbool' a re make of Macbeth, in Jhumpa Lahiri's ' the Namesake' His portrayal of the primary characters in these movies is un forgettable. The sheer amazement felt by this outsider, at the antics of this family, his deadpan expression when he is trying to mask his emotion, and the words he uses to diffuse and sometimes exacerbate situations, in order to get some sense into the father-daughter duo are insightful.
Moushumi Chatterjee as Piku's aunt, is delightfully earthy, and Jisshu Sengupta, as Syed, Piku's harried professional partner, add colour to the movie.
The passage of time, or Time itself, is a central theme of the story, and the erosion and corrosion of time forms a subtle undercurrent throughout the movie. When it is time to move on, we are advised, we Must move on.
The warmth and affection with which the camera lovingly lingers on the landmarks and the essence of Kolkata literally brought tears to my eyes. The soul of the photographer looks out at us in the vignettes. Exceptional!
Above all, the film is about women being equal. It is a message that is brought out without hysteria, and almost without our awareness. No drumrolls herald its presence, it is quietly stated by example, rather than percept, and through the conviction of the central character.
The movie provokes the viewer to think. I know many people who might be uncomfortable with that. To those who are not, do go and watch it. In a theatre.
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